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HOME FUN 



HOME FUN 



BY 



CECIL H. BULLIVANT 




NEW YORK 

DODGE PUBLISHING COMPANY 

214-220 East 23rd St. 



^4* 



COPYRIGHT, I9IO, BY 
DODGE PUBLISHING COMPANY 



£CU278479 



PREFATORY NOTE 



Not to produce workers of wonders or exponents of marvelous mys- 
teries; not to launch on an already over-crowded market a host of 
professional or semi-professional entertainers — but rather to give to 
those who can find real pleasure in amusing others, such knowledge as 
shall enable them to transform the lagging winter hours into periods 
of sheer delight, has this book been written. 

While in no sense does it claim to be an exhaustive guide to home 
amusements, it represents a serious effort to bring within the scope of 
one volume almost every form of popular home diversion. 

The subjects have been dealt with from a simple but perfectly prac- 
tical point of view. In addition to the different accomplishments being 
so explained as to be easily comprehended and acquired, the successful 
presentment of them is made possible at a minimum of expense. The 
greatest difficulty which formerly faced the amateur entertainer was 
the heavy cost of production, but even the most expensive form of 
amusement explained in the following chapters comes well within the 
modest " pocket-money bounds "of the average boy. 

It is hoped that in " Home Fun " will be found much that is entirely 
new concerning subjects about which little or nothing has hitherto been 
written. Whereas the paths so well trodden by authorities on enter- 
taining are here more or less passed over, excursions are made into 
equally fascinating by-ways, an acquaintance with the delights of which 
cannot fail to win success and widespread approval for the promoter 
of entertainments at home. 

That those who follow the many chapters on subjects so amusing 
and diverse may obtain from them as great pleasure as he who has 
compiled them is the sincere wish of the author. 

Cecil Henry Bullivant. 



CONTENTS 

CHAPTER PAGE 

I. AMATEUR THEATRICALS n 

II. MYSTERIES OF MAKE-UP 26 

III. THE QUICK-CHANGE ARTIST 34 

IV. CHARACTER IMPERSONATIONS .... 41 
V. THE UNIVERSAL HAT 50 

VI. NIGGER xMINSTRELSY 56 

VII. SOME SUGGESTIONS IN BLACK .... 62 

VIII. TABLEAUX VIVANTS 68 

IX. CHARADES 76 

X. THE POSSIBILITIES OF THE MUSICAL 

SKETCH 86 

XL VAMPING SIMPLIFIED ...... 92 

XII. AN EVENING AT THE PHONOGRAPH . . 97 

XIII. MUSICAL GLASSES 101 

XIV. HAND-BELL RINGING 105 

XV. THE ART OF DRAWING-ROOM SINGING . .111 

XVI. DRAWING-ROOM RECITALS 116 

XVII. THE ART OF WHISTLING 123 

XVIII. BUNKUM ENTERTAINMENTS . . . . . 127 

XIX. VENTRILOQUISM IN A MONTH . . . . 140 

XX. CONJURING FOR ALL 158 

XXI. SOME KNOTTY POINTS 169 

XXII. BLACK STAGE MYSTERIES 174 

XXIII. CONCERNING GHOSTS 183 

7 



8 CONTENTS 

CHAPTER pAGE 

XXIV. SOME STAGE ILLUSIONS 189 

XXV. THE ROOM OF MYSTERY 201 

XXVI. MECHANICAL SECOND-SIGHT . . . .211 

XXVII. PAPERGRAPHY 220 

XXVIII. JUGGLING 225 

XXIX. PLATE-SPINNING AND WALTZING ... 233 

XXX. THE TIGHT-ROPE 240 

XXXI. CLOG DANCING 244 

XXXII. SHADOW SHOWS 250 

XXXIII. LIGHTNING CARTOONS AND "FAKE" 

SKETCHING .263 

XXXIV. FRICTIONAL FUN . . 272 

XXXV. SOME ELECTRICAL EFFECTS 285 

XXXVI. SAFE SCIENTIFIC EXPERIMENTS .... 297 

XXXVII. SAFE CHEMICAL EXPERIMENTS .... 312 

XXXVIII. ODD EXPERIMENTS 320 

XXXIX. MORE EXPERIMENTS 329 

XL. PHOTO PASTIMES 341 

XLI. HOW TO MAKE AND WORK MARIONETTES 354 

XLII. LIVING MARIONETTES 363 

XLIII. THE HOME CIRCUS 367 

XLIV. HOW TO MAKE AND WORK A PEEP-SHOW . 378 

XLV. THE " MECHANICAL" PEEP-SHOW ... 383 

XLVI. HOW TO MAKE AND WORK A PUNCH AND 

JUDY SHOW 387 

XLVII. DISSOLVING VIEWS 396 

XLVIII. INDOOR FIREWORKS 400 

XLIX. HOW TO MAKE A TELEPHONE .... 405 



CONTENTS 9 

PAGE 
CHAPTER 

L. TELEGRAPHY AT HOME 410 

LI. ELEMENTARY HYPNOTISM 416 

LII. THE POWERS AND MYSTERIES OF CLAIR- 
VOYANCE 4^ 

LIII. TABLE-TURNING 434 

LIV. PALMISTRY • • 437 

LV. PHRENOLOGY 445 

LVI. TELLING FORTUNES BY CARDS, DICE, DOMI- 
NOES, ETC 452 

LVII. GRAPHOLOGY 4^5 

LVIII. A SUCCESSFUL CHILDREN'S PARTY . . . 47^ 

LIX. PARLOR GAMES 475 

LX. PARLOR TRICKS AND PUZZLES .... 490 

LXL "HOW WOULD YOU ?" (PUZZLES) . .510 

LXII. SOME OPTICAL ILLUSIONS 519 

LXIII. CIPHERS AND CRYPTOGRAMS .... 527 

LXIV. SECRET SIGNS 533 

LXV. GAMES AND AMUSEMENTS FOR THE BLIND 538 

INDEX . . . . .*.... ,. ... .. • 545 



HOME FUN 

CHAPTER I 

AMATEUR THEATRICALS 

Stage Construction and Home-made Scenery 

A great many people are deterred from embarking on the sea of 
amateur theatricals for the reason that the expense and trouble incurred 
in providing an adequate stage, and in finding plays suitable for ama- 
teurs, seem to outweigh other considerations. 

The following hints and suggestions, then, are not intended for the 
lordly Thespians who would aspire to flaunt their histrionic powers in 
public assembly-room or civic town-hall. For them there are those who 
make it their business to erect stages, provide " swell " scenery, and all 
the paraphernalia required. 

It is, of course, possible to act without a stage proper at all, especially 
if you happen to live in a house that boasts a double drawing-room 
with folding doors, in which case a curtain would also be a superfluity, 
for the doors could be closed and thrown open when the audience are 
in their places, though if a curtain should be deemed necessary it would 
be an easy matter to fix a rod from door to door. 

But before going on to the description of how to erect a stage of 
a more pretentious character, it might be as well to offer a word or two 
of warning. Remember that private theatricals are rather apt to turn 
a house upside-down, so that before the performance is given it is of 
importance to see that all breakables are stowed away, and that super- 
fluous furniture is disposed of. 

If you are going to turn your drawing-room into a theater, take 
care that your guests can enter without having to pick their way in 
and out of needless chairs and tables. Details such as these may seem 
trivial. They are, nevertheless, just the things that may make or mar 
an entertainment. 

Above all, let there be harmony. Once having chosen your stage- 
manager, see to it that his word is law. Nothing is more galling or 

ii 



12 HOME FUN 

disastrous than for every one to try and " boss the show." And if 
expense has to be considered, do not try to be too elaborate with your 
accessories. 

It is, nevertheless, possible for any one to erect in any drawing-room 
of average dimensions a stage that will be found perfectly adaptable to 
plays made adequate for it, and that without calling in the aid of any 
professional carpenter or stage furnisher. 

The stage can be constructed in the following simple manner: — 
Hire a number of ordinary benches or stout boxes of equal dimensions, 
and on these superimpose lengths of scaffold-boarding or planks. These 
latter should be of equal thickness throughout, in order that a per- 
fectly level staging may be obtained. The whole may be made quite 
secure by the judicious use of nails, although care should be taken 
that no damage is done to the benches, or this will have to be paid 
for when they are returned. A floor covering of felt or linoleum will 
also prove serviceable. 



The Drop Curtain 



An essential piece of stage furniture for amateur theatricals is the 
drop curtain. It can be made from two equal widths of some service- 
able material such as 
«A_ A dark cretonne, sup- 

ported by brass rings 
on a stout bamboo 
rod, to either end of 
which are attached 
large steel eyes (A, 
A, Fig. i). 

The bamboo rod 
should be cut to such 
a length that when 
the eyes have been 
added, the whole can 
be fixed to steel hooks 
screwed into the picture-molding on either side of the room. Should any 
difficulty be experienced in procuring a rod of sufficient length, the 
difficulty may be overcome by the use of two shorter pieces joined at 
the middle by iron sockets. 

In the case where it is intended to give the performance in either 
a schoolroom or a small hall, a curtain of much greater size and of 
stouter material would be required, and this latter can be supported 




Fig. i. — Back view of drop curtain. 



AMATEUR THEATRICALS 13 

on a length of strong gas pipe held in position by brackets nailed to 
the wall at each end. 

The arrangement for raising or lowering the curtain is shown in 
the diagram, in which A A is the rod. A number of small brass rings 
are then sewn to the back of the curtain, as at A X and A E. Top rings, 
much larger, are also attached to the curtain and passed along the 
rod. Cord is next run from X and E respectively through the rings 
at A, and allowed to hang loose as at D. The bottom of the curtain 
should be weighted with shot. 

Four screens, two on each side, can also be requisitioned for the 
wings, and a small steady table placed in each recess (Fig. ia) for 
moderator lamps — 
preferably of the self- 
extinguishing pat- 
tern, in case they 
should be upset by an 
untoward accident — 
to make up for the 
deficiency of foot- 
lights, though these 
can be provided by 
the aid of a little in- 
genuity, e.g. candle 
reading-lamps with 
shades and reflectors 
begged or borrowed 
from accommodating neighbors. Tin cans cut in half, and night-lights 
will serve the purpose equally well. Here, again, the inventive genius 
of the promoters of the enterprise will have to be called into play. 

All risk of fire should be obviated as much as possible, and appli- 
ances for the swift extinction of a blaze near at hand. 

By the judicious arrangement of the screens it will be possible to 
provide for exits and entrances on both sides of the stage. 




Audience 



Fig. ia. 



-Showing arrangement of screens for exits 
and entrances. 



Home-made Scenery 



Scenery, as a rule, proves a great barrier to the would-be pro- 
moters of amateur theatrical enterprises. The purchase of suitable 
surroundings for the presentation of various scenes is a luxury only 
to be indulged in by the well-to-do. In fact, to carry out an ordi- 
nary play on these lines involves the expenditure of many dollars. It 
is hoped that the practical instructions given here will not only 



14 HOME FUN 

avoid such unnecessary and perhaps unwarrantable expense, but will 
also tend greatly to increase the interest of those taking part in the 
work. 

Where scenery is required, it is as well to confine oneself to a 
play that takes place indoors, though, of course, it is possible even 
without a back-drop to give a praiseworthy presentment of an open- 
air scene by means of a plain background, against which are fastened 
boughs of trees, while the judicious grouping of greenhouse plants can 
be used at the sides, plus a plain green felt underfoot to add to the 
effect. However, even these small items run away with money. Cut 
boughs fade and need replacing, and this mode of constructing scenery 
will often be found by the would-be economist to cost more than he 
can reasonably afford. 

Of course, for those who care to do so, proper mounted scenery 
all ready for use may be purchased, but undoubtedly the better plan 
is for the stage-manager to endeavor to find from amongst the members 
of his company one or two who are expert in the use of tools. Generally 
there are many such available, and by the aid of the following diagrams 
and explanatory notes a most useful interior box scene (comprising 
five " flats " which fit together and form the whole) can be constructed 
at a cost certainly not exceeding $5.00. 

By repapering and making other obvious alterations, such scenery 
can be transformed as necessity demands to suit any particular play — 
that is to say, the addition of a few hangings and pictures, and the 
substitution of other appropriate furniture will speedily change a poor 
man's kitchen or parlor into quite a presentable stage drawing-room. 

How to Make the " Flats " 

To deal first with the " flats " or separate parts of the scenery. 
The primary essentials for these are a number of lengths of 2% -inch 
battening; other requisites being a plenitude of nails of all sizes, glue, 
brown paper or canvas, powdered color, and size. The purpose of this 
latter commodity is for painting the wood-work or any other desired 
article, such as a sideboard, dresser, or fireplace. 

Cut the battening to lengths appropriate to the dimensions of the 
stage, or, in other words, with due regard to the height of the room 
and the width and depth of the platform. 

Fig. 2 shows the general arrangement of the five " flats," placed in 
the order shown, with the largest one, consisting of the double doors, 
in the center. 

Now, as the width of these " flats " depends entirely upon the space 
they occupy when put into the position indicated by the diagram, the 



AMATEUR THEATRICALS 15 

stage carpenter must commence his plan of construction with this fact 
clearly in mind. Should a particularly large stage be available, then 
it may be desirable to extend the scenery, in which case one or more 



wiodow 



Double doors 

1 



Oooft 




Door 



Pl&n 

Fig. 2. — Showing usual arrangement of flats. 

straight " flats," similar to that numbered 4 in Fig. 2, can be added at 
each end or where desired. 

The frame-work for the respective " flats " appears in Figs. 3, 4, 5, 
and 6, the method of joining corners being indicated by the elevation 











II 

I 1 

1 . 


\ x> 


/ 




*_. _.. , ...... 











Openwg 




,! 









1*5 

Fig. 3. — Construction of " flat : 
containing door. 



Fig. 4. — Flat for window opening. 



and sectional drawing depicted in the corner of Fig. 5. The vertical 
and horizontal supports are merely fitted in flush and glued. For 
doors and window openings a slightly stouter battening will be found 
necessary. 

Fig. 3 gives a clear idea of the main lines of construction of a 
practical door, which is to be fixed to the " flat " by means of hinges. 



i6 



HOME FUN 



When hingeing doors, take particular care so to place the hinges that 
the doors swing outwards — that is, from the point of view of the 
audience. This precaution obviates the necessity of painting both sides 
of the doors. 

A reference to Fig. 4 shows a window opening which can be used 
either as a lattice, working on the same principle as the door, or as an 
ordinary window, which can be suggested by gluing a strip of wood 
horizontally across the center. 

In Fig. 5 the central opening (the double doors of the plan) serves 
for curtains fixed to rods by means of sliding rings, or merely as 
French windows. Of all the " flats," this is the most valuable, because 



Elev&tibo 



Secfioo 




Fig. 5. — Flat for double doors. 



Fig. 6.— Plain flat. 



it is capable of utilization in a multitude of ways. For instance, should 
the scene be an elaborate drawing-room, the opening will lend itself 
to French windows, through which can be seen park-land or gardens 
in the distance. Again, for the presentment of a humble apartment, 
it has only to be covered with a dresser or any other commonplace 
article of furniture. Should an opening be required to another room, 
curtains of course can be hung. 

Fi ,. 6 depicts a plain " flat." 

The next operation is the covering of the frames, accomplished by 
the use of brown paper, or, should expenses permit, of canvas. The 
brown paper is first cut to the size required, and then glued to the 
frames, only the openings for windows and doors being left. If canvas 
is chosen for the covering, nailing will be found necessary. To prevent 
sagging, and to preserve the flat appearance of the material, coat thinly 
and evenly with a solution of size and water. 



AMATEUR THEATRICALS 



17 



Papering 

The next item for consideration is papering. A visit to almost 
any paperhanger's will reveal the fact, that the shopman possesses 
quantities of certain designs, perhaps not quite large enough to be of 
practical service to him for papering a room. In this circumstance 
the stage carpenter should be able, by the expenditure of a few cents, 
or a quarter at the outside, to obtain quite enough for his purpose. 
Next, he can procure from any builder's yard a few lengths of archi- 



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Section. 



Fig. 7. — Complete door with 
section. 



Fig. 8. — Flat 1 or 5 converted into 
exterior cottage door. 



trave or beaded edging for doorways and windows. This will have to 
be mitered and fixed to the frames. A few slips of board, with beading 
along one edge, should also be purchased at the same time for fixing 
to the bottom of the frames to form the skirting. Now paste the wall- 
paper to the frames. 

Having satisfactorily constructed all the " flats," fix them together 
in the order shown in the plan — i.e. each to each — by means of , 'eces 
of bent zinc and screws. Additional supports are often required, such 
as iron brackets screwed to the bottom of the " flat " and the floor, as 
indicated by the crosses in Figs. 3 and 5. 

To give a finished effect, paste brown paper over the whole of the 
door frames, and produce the appearance of panels by the addition of 
mitered thin beading or slips of wood (Fig. 7). The door panels may 



18 HOME FUN 

then be painted according to taste with a mixture of any powdered color 
and dissolved size. The fixing of a knob or handle with a long screw 
renders the thing complete. 

Reference to the plan marked Fig. 2 reveals the fact, that the two 
end "flats" (1 and 5 respectively) are alike. Now, while one of these 
" flats." may be utilized for an interior door (Fig. 3), it may be found 
extremely useful so to prepare its fellow that it represents an exterior 
cottage door, and to use it as a wing at one side of the stage in an- 
other scene. It should then appear as in Fig. 8. To obtain this result, 
a section of scenery has to be covered with brown paper or canvas, 
as already described for the interior door. Should canvas be decided 
upon, first prepare it by adding a coating of mixed size and whiting, 
to form a background for the painted design. In this case the door 
itself is covered on the outside with paper, and lines are drawn down 
to give an idea of planks nailed vertically together. A latch-handle 
can either be purchased and fixed for a few cents, or an imitation one 
painted in. 

The lintel and doorposts are constructed by gluing or nailing batten- 
ing of a sufficiently stout nature, that it projects to the degree indicated 
by the section in Fig. 8. The purpose of this latter projection is to 
allow for the addition of a latticed porch, which will give that pictur- 
esqueness so essential to stage scenery. 



Making a Portable Porch 

A glance at Fig. 9 will put the amateur stage carpenter in full 
possession of all details relating to the construction of this latticed 
porch. Of course, it will be found necessary to make two pieces of the 
part numbered 1 — i.e. the batten frame and cross-pieces — as one will 
be fixed on either side of the door to support the roof. The lattice- 
work may be purchased in a length, or made from laths, and nailed 
to the frame. Fix the sides of the porch close up to the doorposts by 
means of zinc brackets and pins, as indicated by the two crosses. Next 
pin on the roof, as at 4, Fig. 9. Paint the finished porch bright green 
and the roof red. 

A second reference to Fig. 8 shows that it suggests a design of 
bricks, covered with creeper or a tree. If necessary, treat the other 
side of the window " flat," by painting it in similar fashion, and fix it 
alongside the door to form an additional wing. 



AMATEUR THEATRICALS 



19 



A Portable Fireplace 

A very useful adjunct to the plain " flat " (Fig. 6) is a portable 
fireplace, which is depicted in detail in Fig. 10. To make this, buy a 
length or so of %-inch planking, one length of which should' be cut 
for the mantelpiece, according to the size required. Next cut two 
supports of equal dimensions to form the sides (A, A, in elevation) 
These are nailed to the " flat," and the mantelpiece is kept in position 
by two solid wooden brackets (D, D). Two slips are also added to the 
base of the supports at E, E. The piece C is let in flush with A A 




4 9 



% 



1 Batfeafraroe^cross pieces 

2 6ec11onoJroof 

3 Elevation • • 

4 Pins for fixing 

5 oecfion of roof boards 

6 5ectioQ of 3ir3c bracfeft 



Fig. 9.— Construction of portable porch. 




IfiiBfl 

Elevatfon Section 

Fig. 10.— Portable fireplace and grate. 



I 



oecfioQ 



Below this, to the back of the rectangular opening, attach a piece 
of very stout blackened cardboard, of the shape shown, leaving an 
opening for a real or a painted grate (F). Should the former be pre- 
ferred, it may be produced from pieces of thin battening, as shown in 
the elevation and section. 

To obtain a realistic effect, fill the grate with non-inflammable metal 
tinsel (C, C), and further to enhance the realism, support a small 
galley-pot on a blackened bracket or block of wood (A), the galley-pot 
being filled with cotton-wool soaked in methylated spirit The 
application of a match produces a flame at B (see section of grate 
Fig. 10). s 



20 



HOME FUN 



A Movable Counter or Sideboard 



Fig. ii gives the front and back view of this very useful piece of 
stage furniture, which may be utilized either as a counter, side- 
board, or bottom of a 
dresser ; or, appropri- 
ately draped and sur- 
mounted by a looking- 
glass, it may serve as 
a dressing-table. 

The sections are 
illustrated in Fig. 12, 
the pieces marked 1 
forming the sides, 2 
the top, and 3 the 
front. Steel eyes are 
numbered 4, and their purpose is to hold the sides, front, and top 
together by strong cord, attached as in the back view of Fig. n. 
5 in Fig. 12 is a projecting panel, also seen in the front view of 
Fig. 11. 6 (Fig. 12) indicates the back supports to which the front 
joined boards are nailed. The 

-2 




Front 




BacK 



Fig. 11. — Portable counter or sideboard. 



^A^XMto^A^AV'AW^ 3 



40 



[ 






beading which is fixed along 
three sides of the top is seen 

at 7 ( Fi g- J 3)- 

Having thoroughly 

grasped the details outlined 
above, commence to make 
the sideboard from J^-inch 
boarding. 

To each of the side-pieces 
add a bottom support of 
stouter material, marked with 
a cross in Fig. 12. The 
front is next placed across the 
supports in such a position that the top fits down on them and holds 
all three pieces in place. (See dotted line at 7, Fig. 13; this diagram 
also depicts the separate pieces in elevation.) 

It is not worth while " spoiling the ship for a ha'p'orth o' tar," or, 
in this instance, the sideboard for a coat of paint. Before applying 
this latter, paste the structure over with brown paper, and then give 
it a coating of yellow ochre and size. A grained appearance may be 
produced by utilizing an old coarse comb, the fine grain being attained 



SECTIONS 

Fig. 12. — Detached parts of counter or sideboard. 



AMATEUR THEATRICALS 21 

with the thin teeth and the coarse grain with the stout. To obtain the 
graining, proceed as follows : on the dry coating of yellow ochre put 
a second coating of dark brown ochre, mixed with size as before, and 
whilst wet comb in zigzag lines. 

The great advantage attaching to all the scenery and artificial 
furniture described is that it can be easily fitted together, taken to 
pieces, and packed flat, thus occupying a minimum of space. For 
practical purposes it will be found quite equal both in appearance and 



2 

s_ 

5 5 

i 







Fig. 13. — The separate pieces in elevation. 

for durability to that for which many dollars are charged at a theatrical 
supply dealer's. 

A Back-Cloth 

The construction of home-made theatrical effects may be closed 
with brief hints regarding the much-needed and ever-useful back-cloth, 
which plays a part in most exterior scenes, such as park lands, gardens, 
&c. It consists of several lengths of calico joined together to form a 
square of the size required. This is then fixed on a large wooden roller 
with a similar roller at the bottom to weight it, and prepared with a 
coating of size and whiting. 

A friend of unquestionable artistic ability should be asked to paint 
in a view or other scenery. 

In scene-painting bear in mind that only the brightest and most 
vivid colors are to be used. The colors are made from powder mixed 
with size, and must be applied with broad touches for distant effects. 
The back-cloth can be fixed according to the means available. 

For the proscenium, three pieces of wood to suit breadth and size 
of stage must be requisitioned, the portion destined for the top being 
gently sloped from an arch or apex in direct line with the center of 



22 HOME FUN 

the curtain, and covered with some tastefully-colored paper which gives 
the appearance of heavy satin panels. 

A sewing bee should be formed among the ladies interested in the 
company, and she who has sufficient prowess with her scissors should 
be chosen to cut the garments and superintend the needlework of her 
friends. This will prove a profitable way of spending the long winter 
afternoons. 

Imitation hair wigs, beards, &c, may be procured at various 
prices. 

The best plan to adopt in finding a play suited to the limitations of 
material of an embryo company is to spend a small sum on some " Guide 
to Selecting Plays." In these pages will be found abundant sugges- 
tions and explanations of specimens, dealing from the simplest one- 
act, thirty minutes' production to the five-act, three hours' drama. The 
outline of each plot is given, and a summary of the dramatis persona 
required. 

Miss Keating's " Plot of Potzentausend," for example, is an excel- 
lent one-act play, in which only male characters are required. Interest 
in the fair sex is, however, cleverly maintained, for the four swains 
have each a lass to occupy their affections. 

The costumes, a description of which is given on the front page, 
are of the time of Louis XIV., and the scene is a small frontier village 
in Germany. This is an admirable, amusing, and not too ambitious per- 
formance for boys home for the holidays. 

Grindstone is a miller of a sour and unfriendly disposition. He is 
secretly involved in small political intrigues, and, in order to meet the 
Chevalier d'Espion without the knowledge of the villagers, refuses to 
allow the lads and lasses their usual yearly privilege of dancing in his 
barn, to which they naturally take exception. Grindstone's personality 
and physical appearance are as gray, grim, and cold as the substance 
after which he is named. He is tight of lip, thin of figure, and possessed 
of a countenance which expresses a miserly cunning, dislike of frivoli- 
ties, and hypocritical semblance of virtue. Although vastly respected, 
he is not overwhelmed with the affections of his fellow-men, and is 
termed, even by his servant Sacks, to be something of a rogue. 

Sacks, his man, is a thick-set hunchback, with a round, jolly face 
and optimistic temperament, which presents a strong contrast to his 
master's saturnine character. 

Max, a young sergeant, of smart demeanor, is weighted by a sense 
of his own importance, insipid of face, and overbearingly superior in 
manners. 

Louis, a lawyer's clerk, pale and meek, rat-faced and rather wily, 
grasping in disposition, and something of a flirt. 



AMATEUR THEATRICALS 23 

Fritz, a young peasant, whose sentences generally terminate with 
" as a body may say," shows a priggish and cautious attitude to preserve 
his own skin at any cost. His expression is a delightful mixture of 
rustic placidity and guileless cunning. 

The Chevalier d'Espion, a smart, condescending person of uncertain 
age and carefully preserved complexion; his gold lace and feathers 
lend him as irreproachable an aloofness and pride as the peacock demon- 
strates towards the jackdaw. 

Plan of Room in Grindstone's House 



R. Cupboard. ill Practical 



Large 
screen. 




window. 
L.C. 



Door, / X I I Door, 

R. / High-backed \ Table— centre. L. 



Door, Door, 

R - Audience. L ' 



The table should be covered with a cloth sufficiently long to touch 
the ground on all sides. The rear of the high-backed chair and window- 
curtain are to be used as hiding-places, and must be practicable for the 
purpose. Small chairs and an old stool are also required. Except for 
a small lighted lamp which Sacks, the first to enter, places on the table, 
the stage is in darkness. 

This play takes thirty-five minutes. The plot is built on the mis- 
understanding that arises between the four swains — who have uncon- 
sciously chosen the same place and hour to meet their ladies — and the 
Chevalier d'Espion, who, expecting to find a quartette of fellow-con- 
spirators, mistakes them for such in disguise. Soldiers appear to arrest 
the Chevalier, who manages to escape. Sacks proves the identity of 
the rest, and so all ends happily. 

The dialogue must be brisk and the action kept interesting. Acted 
in the right spirit, it cannot fail to produce roars of merriment. It has 
a further advantage of not being too great a strain on the memorizing 
powers of those who have never previously essayed to learn prose by 
heart. 

A reliable prompter, concealed from the audience, should be 
close at hand. His business is to follow the dialogue intently, giving 
aid when necessary in a clear, low voice. Words should never be 



24 HOME FUN 

whispered, nor too loudly spoken. A happy medium is acquired by 
experience. 

The make-up required by the characters is as follows : — 

Sacks (florid flesh tint), grease paint (red) No. 2^2 ; a slight cobweb 
of good-natured wrinkles and crows feet, such as would be caused by 
laughter. Red, black, or gray wig, according to taste. 

Grindstone (sallow flesh tint), chrome grease paint; peevish and 
discontented lines about the mouth, furrowed forehead, peruke slightly 
gray, nose paste to enlarge nose, sparse ruffled eyebrows. 

Louis (sallow flesh tint), chrome grease paint; peruke any color 
fancied, premature wrinkles, small white. A few front teeth in upper 
gum stopped out with small noir. 

Max sunburnt. Frits ruddy. The Chevalier d'Espion bronzed. Offi- 
cer and guard, 2.y 2 medium flesh. 

Another fascinating play for boys is " The Poor Relation," also 
written by Miss Keating, and included with " The Plot of Potzen- 
tausend " in " A Series of Original Comedies." 

Grease paints should be composed of pure chemical fat and colors 
free from lead, otherwise they will make havoc with sensitive skins. 

Artificial complexions should never be scrubbed from the face by 
means of soap and water. 

Cocoa butter gently applied on the corner of a soft dry towel will 
rapidly erase every mark, and is an excellent tonic for the skin. 

Grease paints, rouge powder, cocoa butter, spirit gum, sponge-towel, 
puff, crepe hair, hare's foot, patches, tongs, hairpins, joining paste, 
brush and comb, lip salve, liquid blanc de perle, scissors, mirror, mus- 
tache, vanquisher, needles, cotton, soap, sponge, &c, can be pur- 
chased in compact make-up cases at prices from $15.00 down 
to $2.50. 

Amateurs are sometimes prone to stiffness and artificiality of gesture 
and exaggeration of expression, also to too much or too little move- 
ment. A perfectly natural manner can only be gained by throwing 
oneself whole-heartedly into the play, and uniting oneself with the 
other dramatis personse. Acting editions of both playets mentioned 
above may be obtained of Messrs. Samuel French, of 28 West 38th St., 
New York. 

Each actor has, as it were, his little orbit of movement, but this 
should not be circumscribed in a conventional, studied manner. Ease 
and self-control should cover all mastered technique in voice, attitude, 
and gesture. Words should be clearly delivered, and pronounced with- 
out any pedantic phrasing or forced utterance; and this will only be 
achieved by constant and careful rehearsing. The personality of each 
character must be distinct and individual. 



AMATEUR THEATRICALS 25 

When an amateur company is formed, each member should pay a 
fee in proportion to the strength of the casts and the drama they hope 
to produce. The stage-manager's choice of characters should stand 
inviolable, providing, of course, he presents sufficient discretion and 
insight to distinguish between the different trends of talent possessed 
by his players. 

In almost every company there are a few players who are inclined 
to fancy that they can do justice to a role given to some one else, rather 
than to the one they are studying. This is a form of very human dis- 
content which Quince, the stage-manager of the players in " A Mid- 
summer Night's Dream," had to battle against. 

Flute bemoaned his fate, and excused himself from playing the 
woman's part, on the plea, " I have a beard coming." 

Bottom was torn between a desire to undertake Thisby and the lion. 
" I will roar that I will make the duke say, ' Let him roar again, let him 
roar again.' ... I will roar you as gently as any sucking dove." 

As adamantine as the sagacious Quince against these eloquent ap- 
peals must be the modern stage-manager when the would-be trage- 
dian importunes him to play the heavy role, or the individual who 
believes himself endowed with hidden genius, to portray the part of light 
comedian. 

Thus only is success achieved. 



CHAPTER II 

MYSTERIES OF MAKE-UP 

The Foundation 

It is necessary that the amateur who wishes to make his efforts at 
private theatricals a success should have a fair knowledge of the art 
of " make-up." 

While no great amount of money need be expended, at the same 
time the best results can be obtained only from the use of good cosmetics. 
Grease paints, obtainable from any purveyors of theatrical appliances, 
are excellent and not very expensive. 

There is no doubt that many people consider it quite sufficient to 
dab a little paint on the face, smear it over carelessly with the addition 
of some powder, and imagine, quite erroneously, that they are well 
made-up. 

The outward signs of character are to be represented by " make- 
up," and it is quite essential that this effect should be produced; there- 
fore, with a slight knowledge of what is to be avoided, and what effected, 
the home-actor should attain to some degree of success. 

" Wig-paste," No. 2^, is usually considered the best foundation for 
pink complexions, and according to shade required, deeper colors can 
be used, such as 3, 4, &c. Thus, if being made up for the part of a 
pretty young girl, the first number is best; if for a middle-aged woman, 
No. 3 ; while for elderly men of choleric temperament No. 4 would be 
more suitable. 

It must be borne in mind that the foundation of wig-paste should 
be carefully put on, and well smoothed before the structure or blend- 
ing of colors to produce a natural appearance is commenced. Whether 
this is done well or badly will make all the difference to the final 
results. 

Lining 

Lining is an important part of "make-up," by its aid the lines of 
the face being diminished or deepened, shadows created for sunken 
effects, and " high lights " produced — i.e. touching up the cheek-bones 
to give them prominence. By careful use of this latter branch of 
" make-up " the whole character of the face can be changed. High 

26 



MYSTERIES OF MAKE-UP 



27 



lights are produced by a lighter shade of grease paint than that used 
for the rest of the complexion, being placed upon the feature to be 
emphasized; for instance, if the actor wishes his nose to appear thinner, 
he will draw a straight white line from the top to the tip, enhancing 
the effect with a careful application of the gray paint (Fig. la). The 




Fig. la. — High lights. 









MM 

mm 
t r ^ , -^."'i'.^ k 



Fig. i&.— High lights. 



Fig. 1 c— High lights. 



cheek-bone, nose, chin, and brow are parts of the face which are made 
up for high lights, though if wrinkles are to be accentuated this is usually 
done by the addition of a " high light " effect on each side of the existing 
dark line (Figs, ib and ic). 

To make cheeks appear hollow, gray-lining paint is used, the effect 
of emaciation being produced by the careful blending of the last-named 
paint with the grease paint previously put on. 



.8 



HOME FUN 



Shadows, or low lights, give the effect of hollowed cheeks and 
sunken eyes, and instead of making features more pronounced, as is 
the case with a careful " high light " make-up, decrease the prominence 
which certain parts usually possess (Fig. 2). When making-up for a 
beldame, or some other character which should appear more than usually 
haggard, a striking effect is obtained by adding 
a spot of either dark-gray or brown, and blending 
it outwards. 

The lining of the eyes requires special atten- 
tion, more particularly as their appearance de- 
pends so much upon the change of the eyelids 
(Figs. 3 and 4) ; eyelashes too, when properly 
treated, make a vast difference to the usual 




expression. 

When it is necessary that the eyelashes should 
be more pronounced, black grease paint is put on 
to the end of an artist's stump, melted very slowly 
by being held over a candle or other flame, and 
so applied. Care should be taken, however, that 
no grease paint goes into the eye, so when melt- 
ing it must not be allowed to become too soft. 
Black-lining grease paint is the best for eyelashes, 
and the amount applied depends entirely upon their natural thickness 
and darkness. 

For darkening or lightening the eyebrows, grease paint " liners " 
are indispensable, and much preferable to India ink. Sometimes it 
is necessary to obliterate part of the eyebrow before the rest is " drawn- 
in," in which case it is first of all coated with soap and then covered 



Fig. 2. — Low lights. 





Before lining. 



Fig. 4. — After lining. 



with the same grease paint as used for the groundwork of " make-up." 
This done carefully, and toned to the same shade as the rest of face, 
leaves the actor free to " draw-in " any shaped eyebrow he desires. 
For a very thin eyebrow a toothpick can be utilized to advantage, a 
little melted grease paint being rubbed upon it, and the line drawn 
with it (Figs. 5 and 6). 

For Oriental effects the obliteration of the eyebrows is essential, 



MYSTERIES OF MAKE-UP 29 

and fresh ones with an upward tendency can be drawn-in at will, when 
once the natural ones have been made to disappear. 

More often than not it is necessary to increase the eyebrows, making 
them look thick and heavy, and if Nature has endowed the player with 
massive ones, it is an easy matter to comb them up the wrong way 
and apply a small quantity of grease-paint; but if they are naturally 
thin the aid of false ones must be sought. Crepe hair, which is an 





Fig. 5. — Eyebrow before lining. 



Fig. 6. — Eyebrow after lining. 



indispensable accessory to the " make-up " art, can here be brought into 
use, the ever-helpful " adhesia " being required as well. 

The best plan is to model on a comb the eyebrow according to the 
shape desired ; then, placing the latter in position, make it fast with 
the use of the adhesia, taking care that the gum is only on the edges 
and not on the hair of the real eyebrow. 

To obtain a sinister expression, eliminate the outer edges of the 
eyebrows and paste a piece of crepe hair over the eyebrows near the 
nose, the Mephistophelian effect being gained in the same way, except 




Fig. 7. — Natural eyebrow. 



Fig. 8. — Mephistophelian effect 
produced with crepe hair. 



that the outer corners should curl upwards (Figs. 7 and 8). By fixing 
on pieces of crepe hair so that they meet over the nose, a stern and even 
fierce expression is produced. 



" Juvenile " Make-up 

In making-up for the character of a juvenile, the strength of light 
on the platform or stage is to be taken into consideration. If a fairly 
strong light, the make-up must not be too deep, but the player will 
soon become experienced in this matter by taking the trouble to consider 
the effect of different lights. 

Before commencing with the grease paints the face is well rubbed 



HOME FUN 

with cold cream or cocoa butter, and wiped with a 
towel, so that none of the former remains visible. 
The flesh-colored paint may now be drawn 
across the face several times, the method of pro- 
cedure being: two lines across forehead, two on 
each cheek, one down the nose, and several on 
the neck (Fig. 9). With the palms of the hands 
this is smoothed over carefully, and finally rubbed 
quite lightly with a dry towel. The foundation 
is thus formed, and is really the most important 
part of the make-up, for if not carefully done 
the rest will be unsatisfactory. One of the chief 
facts to be borne in mind is that very little 
paint should be used, so little as to be scarcely 
seen. 
Rouge is next applied, red-lining paint or paste lip-rouge being 




Fig. 9. — Preliminary 
lining. 





Fig. 10. — Natural lips. 



Fig. 11. — Lips accentuated by rouge. 



used upon the cheek-bones, and carefully smoothed until it tones with 
the flesh on the cheeks. After an application of 
powder, when the face feels perfectly smooth, 
comes the task of lining-in, which has already 
been described. 

The lip-rouge accentuates the lips (Figs. 10 
and 11), and should it be necessary to make 
them of a more symmetrical appearance, this 
may be accomplished by extending the rouge 
a trifle beyond the natural outlines, though 
women need this little extra touch more often 
than men. When it is required to make the 
chin more prominent, a touch of dry rouge 
beneath the lower lip will accomplish the effect, 
still more being added to the cheeks if they 
are not quite colored enough (Fig. 12). 

For juvenile darky parts, burnt cork will 
do instead of the grease paints. Fig. 12.— " Juvenile " make-up. 




MYSTERIES OF MAKE-UP 



3i 



" Middle-Age " Make-up 

This is perhaps the most difficult make-up, for it is much easier 
to go to one extreme from another, than to make a fairly young person 
look like a middle-aged one (Fig. 13). 

In the case of a man it is advisable to depend on the addition of 
whiskers and mustache, and even glasses or spectacles lend age. 

A sallow paint is usually required for middle-age make-up, and 
it can be blended with a lighter paint for pale effects; but to produce 





Fig. 13. — " Middle-age " make-up. 



Fig. 14. — " Old-age " make-up. 



a hearty bloom or florid complexion, the application of a little red or 
brown is recommended. 

The mid-gray wig is also an immense aid, but failing this, a small 
amount of powder sifted over the hair will give a similar effect. 



"Old- Age" Make-up 



If the character desired to be represented is carefully studied, notice 
being taken of where there is a high light and where the shadows of 
the face lie, there should be little or no difficulty in producing a lifelike 
representation. 

Particular notice should be taken of wrinkles and lines, and these 
must be carefully blended as in Fig. 14. 

The next essential is the wig, either gray or white being the most 



32 HOME FUN 

useful. For the old age complexion it is better to get the grease paint 
for that purpose ; but when the necessity for it is but seldom, an applica- 
tion of the sallow paint, or in the case of great emaciation, the addition 
of a little blue, well blended, will create quite a good effect. 




Fig. 15a. — Natural 
features. 





Fig. 15b. — Putty 
applications. 

A. Putty addition to forehead. 

B. " " " nose. 

C. " " chin. 



Fig. 15c. — Finished 
features. 



Sometimes it is required that the nose shall be made larger; then 
the " nose putty " is called into play, carefully modeled on to the nose, 
and with the aid of the same grease paint as is utilized for complexion, 
made to correspond with the rest of the face (Figs. 15a, 15&, and 15c). 





Fig. 16. — Hand made-up for " old age." 



Fig. 17. — How to measure 
for a wig. 



Dark shadows under the eyes can be produced by gray grease paint, 

but for the formation of crow's-feet, the brown will be found the best. 

The hands must receive careful attention when the face and neck 



MYSTERIES OF MAKE-UP 33 

are finished, and " made-up " according to character. If juvenile, they 
require coloring; if middle-age, a little of the sallow paint: the veins 
accentuated, and the flesh made to look pale for old age parts 
(Fig. 16). 

When measuring for a wig, take the various lengths and widths 
as indicated by the numerals in Fig. 17. 

Beards and Mustaches 

The most inexpensive of these necessary adjuncts to the home enter- 
tainer's make-up are undoubtedly those he models for himself from 
crepe hair, which can be bought in a plait and untwined as it is wanted, 
a coarse-toothed comb being passed through it. With a few twirls it 
can be made the desired shape and cut, and when wanted for a beard, 
opened out until it has a hollow cone-shape appearance, and placed on 
the chin after a thin coating of adhesia has been applied. 

The same method applies to eyebrow and mustache making. When 
it is desired to create an unshaven, unkempt effect, pieces of crepe 
hair are cut up exceedingly fine on to a newspaper, the chin covered 
with adhesia and the finely-cut hair sifted evenly over the skin. These 
little pieces are also useful for sprinkling where the false beard meets 
the face, in order to take away the " abrupt " appearance that is often 
produced. 

The Removal of Make-up 

Having told how to put on make-up, a few instructions for its easy 
removal may not be out of place. Whilst soap and water will take off 
the grease paint, the simpler method is to remove it with one of the 
following: Cold cream, cocoa butter, or olive oil. Vaseline is to be 
avoided, as it will often cause a growth of hair; and for this reason 
when purchasing cold cream it is advisable to procure the best, for in 
the cheaper makes vaseline is largely employed. Pieces of cloth kept 
specially for the removal of " make-up " are to be recommended, one 
for taking the chief layer off and another of soft texture for final 
rubbing before the much-needed wash is resorted to. 

For dispelling traces of the prepared burnt cork used for minstrels 
and negro burlesques, a pure vegetable soap is all that is required. 



CHAPTER III 

THE QUICK-CHANGE ARTIST 

How It's Done 

The machinations of the full-fledged quick-change artist afford the 
mind of his amazed spectator much speculation and curiosity as to how 
his marvels of dexterity and transformation are achieved. His velocity 
would put summer lightning to the blush. His mind and body are 
as pliable and elastic as his face; his very nature appears to undergo 
a swift metamorphosis of changes in the adoption of the various man- 
ners, idiosyncrasies, attitude, and gait of the character he portrays. 
Although agile and unerring, he possesses something of the stoic calm 
of the hedgehog, and is as natural in his art as when partaking of a 
beefsteak in privacy. 

He flashes before the vision on stage or drawing-room platform in 
dress so immaculate that it would seem to the uninitiated that his toilet 
is the result of hours of care and deliberation. In the costume of 
an old-world dandy he struts about, swaying his long-laced sleeves 
with exquisite grace over his snuff-box, the while -he patters his part. 
A moment after, like a shooting star, he has swung himself through a 
door, reappearing almost instantaneously by means of another entrance, 
transformed in wig and attire to a totally different individual in age and 
character. 

Thus he continues playing his many parts so nimbly that one can 
scarcely believe he has not a bevy of actors hidden in the wings ready 
to fly through doors and windows as quickly as a cork pops from 
a bottle. 

That his agility is grounded on a studied method, and his versatile 
acting the result of wheels within wheels, well-oiled, and precise as 
the mechanism of a clock, is difficult to believe until his secrets of 
manipulation are revealed. 

" How is it done? " whispers the youth, palpitating with aspirations 
to do likewise. Well, in only one way — that way simplicity itself, when 
once practice has made it perfect. 

I am dealing now with the man who produces a play in which 
each role is played by himself, and will proceed to explain his 

34 



THE QUICK-CHANGE ARTIST 35 

proceedings from the start, so that the ambitious amateur may, at the 
next Christmas party or home gathering, try a humble imitation, and 
gradually achieve glory and greatness in the eyes of his family. 

An Inexpensive " Stock in Trade " 

Let us study the tools and qualities essential to the quick-change 
artist. His stock and properties are all inexpensive, save the wigs. 




L^ 



Fig. 1. — Front view of " one-piece " 
garment ; dotted lines denote springs. 




Fig. la. — Back view of " one-piece 
garment. 



It is not advisable to purchase cheap ones, as they soon show the 
signs of wear; while hair in good condition, and carefully kept, lasts 
for years. 

His wardrobe contains garments of the cheapest material, and here 
the old clothes-bag of the house, in which articles doomed for a jumble 
sale are placed, is invaluable. A clever needle and a little ingenious 
manipulation result in splendid effects. 

Every garment is made in one piece, and fastens at the back of 
the performer by means of clock springs, which may be purchased 
from any clockmaker (Figs. 1 and la). The springs are pliable bands 
of steel, cut and rounded, according to the size required, and punched 
with small holes, by means of which they are fixed with stitches to 
neck, waist, legs and wrists. These springs should be carefully 



36 HOME FUN 

concealed in the hem, with sufficient material over to hide the opening 
at the back. 

There is no time for fastening of buttons, tying of strings, adjust- 
ing of pins, or plastering of gum. Even the mustaches used are fixed 
by means of small silver springs, which adhere to the interior of the 
nostrils as firmly as the springs of eyeglasses pinch the top of the nose 
(Fig. 2). 

The scenery required is also easily manufactured at home by the 
amateur carpenter. Thick brown paper, light wooden frames, or, better 





Fig. 2. — Back and front view of mustache fixed by spring. 

still, samples of wallpaper, fixed with small brass hinges, will serve 
excellently as an interior. 

Until the student is far advanced in dexterity, it is wisest to limit 
his production to one environment. 

The first thing, of course, is to choose a suitable piece. If you 
are clever with your pen, you may compose a sketch to please yourself. 
This is a good plan, for you will be governed in your production by 
what is most suitable and easy to your limitations. If, however, no 
suitable idea presents itself to you, go to any good dramatic firm, and 
spend a morning in looking through plays until you alight on something 
answering to your purpose. 

In choosing a play, avoid an elaborate cast, complicated plot, or 
speeches. Long monologues are wearisome and monotonous ; while, 
on the other hand, conversations of too rapid a character will be im- 
possible to manage satisfactorily, however skillful your manipulation. 

The novice should begin with a curtain raiser, containing two or 
three persons, and the movement should be brisk and interesting. Hav- 
ing fixed on his play, he studies his scenery. 

He must have sufficient entrances and exits. To use only one, so 
that the audience always knows through which door he is about to 
appear, spoils the effect of his cunning. It is far more dramatic 
to burst upon them from a direction least expected, and, to do this 
successfully, as many doors or windows are necessary, as in a pro- 
duction played by several persons; but these should not be so placed 
as to be aggressively prominent, — curtains, palms, screens, a sham 



THE QUICK-CHANGE ARTIST 37 

cupboard or fireplace, by means of which sudden comings and goings 
lend a thrilling reality to every movement. Fig. 3 depicts a suggested 
plan. 

The different costumes to be used should be numbered in the order 
required, and this is where a cool-headed and reliable dresser is abso- 
lutely essential. 

To robe oneself by means of picking up garments and wigs from 
chair or different pegs is slow work, and leaves the stage empty for too 

A - Frerccbwindow 
£•••• Doors 

C-'Curfoitfcovered- 
c -door 

Vf J~~ =— V? Fire p |ice 

1 




WINGS 



Fooflicfbfs. 



Audience 

Fig. 3. — Suggested plan of scenery arrangement for the quick-change artist. 

long a time to keep the spectators interested in one's movements. The 
swiftest manipulation will be too slow to those awaiting the re-appear- 
ance, and, unless the movement is kept jogging, there will be no sem- 
blance of reality in the performance. 

The Dresser 

The dresser plays a part no less important than the artist. Upon 
leaving the stage the latter immediately wrenches from his person the 
garment in which he has just appeared. The dresser is close to the exit 
with costume No. 2 held out widely. The performer walks straight 
into the clothes, of which the clock springs are widely expanded. In a 
flash they close round his person. Another dresser adjusts wig, beard, 
&c, as he passes to his next entrance (Fig. 4), with the result that he 



38 HOME FUN 

appears to answer the remark made by himself in the character No. i 
without any break being perceptible to the audience. Whilst speaking 
the words in the role of No. 2, the dresser is awaiting him at the next 
exit with No. 3 or No. 1 clothes, (if No. 1 and 2 are having a con- 
versation), which he has swiftly picked up from the floor when 
discarded. 

It is obvious that in order to be of real service the dresser must be 
as familiar with the words of the play as the performer. It is not 
enough only to know the cues. He must, by his knowledge, calculate 




Fig. 4. — System of " changing " behind the scenes. 



to a hairbreadth how long No. 2 takes to reply, and be prepared upon 
the instant of exit with the apparel of No. 1. 

A plan of modes of entrances and exits should be arranged before- 
hand between actor and dresser, and never altered. Each sketch must 
be founded on a different plan, and in each the movements should be 
so carefully practiced that they become almost a habit. Any chance 
alteration or mistake leads to bungling and loss of time, for, if No. 1 
disappears through the exit fixed upon for No. 2, naturally the dresser 
will not be there awaiting him, and this mischance will probably throw 
all the succeeding movements into confusion. 

The quick-change artist is employed in a race with time, and, time 
being swift and fleet of foot, the human competitor cannot possibly 
afford to loiter or blunder. 

In a play or sketch in which several characters are to be im- 



THE QUICK-CHANGE ARTIST 39 

personated it does not make for speed to have installed as many dressers 
behind the scenes. One, or at the most, two reliable and experienced 
assistants are ample. A larger number will only hinder the artist's and 
their own movements. 

That there is a certain amount of nervous strain about this mode of 
performance cannot be denied, but, by constant practice and coolness, 
the artist greatly facilitates the mental effort that accompanies his por- 
trayals. 

A sketch should at most be of a half-hour's duration. The actor 
needs some knowledge of acting, and must be able to change his voice 





Fig. 5. — Showing wig, eyebrow, nose, 
and mustache combined. 



Fig. 6. — Another example, showing 
bonnet, wig, nose, spectacles, 
and veil combined. 



to the different pitches required. It should range from the high-pitched 
falsetto of the aggressive female type of uncertain years to the gruff 
bass of the dogmatic father, while the cooing notes of the immaculate 
heroine should be carefully cultivated. 

The artist must of necessity be clean-shaven, so that he can adapt 
beard, " mutton chops," or mustache as required. 

Figs. 5 and 6 show completed examples of one-piece transforma- 
tions. Fig. 7 depicts coat and breeches combined. 

Most important of all the quick-change artist must be self-reliant, 
self-confident, and absolute master of emotions engendered by nervous- 
ness, for these lead to loss of memory where words and modes of en- 
trance and exit are concerned. While on the stage his mind must be 
concentrated on the part he is playing to the exclusion of everything else, 



40 HOME FUN 

his attention as completely focused upon the impersonation as though 
the other characters were being undertaken by different individuals. 

For many of these practical suggestions the writer is indebted to 
a versatile quick-change artist, who willingly revealed some of the 
secrets connected with his favorite form of entertainment. He em- 
phasized the fact that success is not achieved by means of numerous 
wigs and costumes — a performer may possess the most elaborate ward- 







»,..# 




Fig. 7. — Breeches and boots, showing front and back views; 
dotted lines indicate springs. 

robe, repertoire, and paraphernalia, and yet sadly fail to move the inter- 
est and sympathy of his spectators. 

As this artist remarked, the true art lies in facial expression, gesture, 
attitude, and change of voice. These must be cultivated assiduously 
before any one-man play is produced, for it is only when the features 
are plastic as rubber, gesture and attitude the perfection of mimicry, 
the voice containing every note in the range in which language is ex- 
pressed, that the steep ladder of success is scaled, and the timid novice 
becomes transformed into the popular resourceful artist. 



CHAPTER IV 

CHARACTER IMPERSONATIONS 

Talent v. Material Aids 

A very popular means of amusing- a house-party is the impersonation 
of various characters. It is an entertainment more suitable to the limits 
of a drawing-room than tableaux or amateur theatricals, which of 
necessity entail a certain amount of expense, scenery, lighting, and much 
labor and anxiety in securing and drilling an efficient cast. 

Although it is doubtless true that this art needs some natural talent, 
skill, and mastery of detail, much can be done by practice and self- 
reliance. 

A clever man in the street amuses a long line of patient theater- 
goers, his only paraphernalia being a soft, pliable disc of black felt. 

The metamorphosis that article undergoes in his hands is a marvel. 
Dexterously he wields it — a mere twist, and it is the three-cornered 
biretta of a cardinal. Another, and it shades the villainous glare of a 
brigand, who appears quite capable of cutting the throats of his audience. 
A deft touch and a strut, and it tops the head of a swaggering dandy. 
Next it shades the solemn, ascetic features of the priest. Tipped to 
a different angle, and the cockney grins with happy-go-lucky imperti- 
nence. Thus it is used to represent every grade of society from the 
highest to the lowest of humanity. 

But miraculous as that piece of felt seems, it is really the eyes and 
gestures of the artist plying it that lend it personality, power, and magic 
of transformation. In the hands of one ignorant of the tricks, it is 
a futile and clumsy piece of mechanism. 

A man may put a tea-cosy on his head and look absurd; another 
does the same, and behold! — a living Napoleon stands before us. The 
greater the artist, the simpler the preparations used, for the skilled 
representative trusts to eyes, gesture, and figure rather than to the 
material used. 

Elasticity of feature is essential. Without this it is impossible to 
produce a living likeness. One may possess wigs, beards, eyebrows, 
sham noses, and skulls of every imaginable shape and size, and yet fail 
through inability to assume the expression peculiar to the study under- 
taken. 

41 



42 HOME FUN 

In rehearsing impersonations a mirror is as good and true a friend 
as in reciting. Observe how faithfully it reflects every change in the 
human countenance. 

Supposing the character studied to be that of King Lear. First read 
your Shakespeare and memorize the lines which reach the very crisis 
of the agony and woe of love of that unfortunate monarch, as when, 
turning to his ungrateful, malignant daughters, Regan and Goneril, 
he cries — 

" I will do such things, — 
What they are yet I know not, . . . but they shall be 
The terrors of the earth. You think I'll weep; 
No, I'll not weep : 

I have full cause for weeping, but this heart 
Shall break into a hundred thousand flaws 
Or ere I'll weep. O fool ! I shall go mad ! " 

Understand the breaking, raging, heart-throbbing beneath them. 
Repeat them aloud before the glass, with wild, burning eyes and quiver- 
ing lips, with shaking hands upthrown and tensely up-drawn figure, 
and by-and-by, if not at once, you will see King Lear peering at you 
distraught. 

When you have thoroughly gripped that image you may crown it 
with snowy hair, pent brows, and ragged beard — but not till then. 

And now, supposing, for a change — for there is nothing like 
variety — you undertake so utterly different a character as that of his 
faithful fool. Here no jingling bells and jester's folly are needed 
to aid you, for these may be, and frequently are, but the danger signals 
to discerning eyes of incompetent treatment; you want his shrewd, 
loyal heart in your breast, his pulse beating in your brain, your finger- 
tips. His cunning grin must be a wavering crack in a wizened face as 
you memorize such caustic saws as — 

" Thou hast pared thy wit o' both sides, and left nothing i' the 
middle; here comes one o' the parings." 

This method of memorizing and voicing some sentiment character- 
istic of the figure presented, is only for private use during rehearsals. 

Costume performances are dumb, and, this being the case, it is easy 
to realize how eloquent and exact the physical contour must be for 
faithful similitude. 

Regard the idea as an object being photographed. When you have 
gripped it, and, as it were, posed it before the camera of your brain, 
focus, produce, and develop it on your features, which may well be 
likened to a film. 



CHARACTER IMPERSONATIONS 43 

Knowledge from Nature 

In order to master the idiosyncrasies, mannerisms, eccentricities, 
and habits of characters, study is essential, and for this reason it is 
probably best to acquire knowledge, not from imaginary heroes of fiction 
or drama, but from the fount of Nature. 

Popular statesmen, musicians, admirals, soldiers, prelates, scien- 
tists, novelists, and famous actors walk our streets to-day, and each 
possesses some anomaly of expression, feature, speech, gesture, or man- 
nerism which is distinctly his own, and distinguishes him from his kind. 
Just as no two leaves of a tree or petals of a flower are exact duplicates, 
so in mankind — no matter how subtle the anomaly — it exists, and must 
be fathomed and included in the portrait; delicately if it is delicate, 
proportionately broadly and ostentatiously as it is broad and ostenta- 
tious. 

For example, there are some persons whose peculiarities are as 
evasive and subtle as the bouquet of a wine, the bloom of a grape. 
We feel their influence, we realize them to be the essence of their 
individuality, and yet we fail to catch and master them; while there 
are other persons we meet whose eccentricities flare out at us in a 
moment, and illuminate a character more fully and faithfully than any 
words. 

The pouting lip, the flickering eyelid, the shrug, the drumming 
on the table with the fingers, the stroking of nose or chin, the revolving 
of thumbs, the pushing or patting of the hair, are eloquent signs that 
he who runs may read, and make his own. These may be called osten- 
tatious mannerisms. 

The subtle peculiarities are far more difficult to catch and convey 
faithfully. One man suddenly narrows his eyes and looks introspec- 
tively at you, or the mouth clinches unexpectedly over the teeth without 
any apparent reason. A pulse suddenly quivers into sight at the temples, 
and is gone again. The expression falls into repose, but that very 
stillness indicates a perplexing and evasive expression of temperament 
and individuality that you cannot catch to your own satisfaction. You 
may note coloring of hair, beard, mustache, &c. You may purchase their 
exact match, and find the likeness only a shell, because the essence 
that lends delicate fragrance and character has escaped you, and with- 
out it your representation, however flawless in coloring and texture, 
is as unsatisfactory and unreal as the marble statue to the human face 
and form. 

Fundamental to the successful rendition of character impersona- 
tion is the cultivation of dexterity and quickness. The dumb rep re- 



44 HOME FUN 

sentative must have all his regalia of wigs, beards, eyebrows, hats, 
helmets, cloaks, &c, well arranged, and within easy reach. 

In a sense he is a conjuror — a magician. His movements must 
be swift as lightning. Indecision creates a jar; a pause or bungling 
spells failure. A small velvet-draped stand or table placed behind 
him, and within easy reach, with each article ready in the order wished, 
is essential. In the center of this should be a mirror, with a good 




Fig. i. — Character impersonator's stage table. 



electric light over it, but shaded as much as possible from the audience 
(Fig. i). 

The stand must be draped in dark colors, so as to obtrude as 
little as possible on the audience. While in preparation, all other 
lights near you should be turned off, and only switched on for a 
moment or two the instant you are ready. The attitude should be 
struck in the dark, and this must be sure and swiftly taken, and abso- 
lutely in keeping with the character assumed. Avoid grease paints as 
far as possible. 

A pianoforte or small orchestra playing some melody suitable to 
the impersonation will prove a most valuable adjunct to the imagination 
of artist and audience. 

Avoid such hackneyed characters as Napoleon, the late Sir Henry 
Irving, the German Emperor, and similar portrayals that may be wit- 
nessed any evening at almost any vaudeville hall. An audience is 



CHARACTER IMPERSONATIONS 45 

frequently more amused by the imitation of types than of in- 
dividuals. 

The fat saloonkeeper, the costermonger (Fig. 2), the blase gentle- 
man of fashion, the racetrack bookmaker, the ruddy countryman, the 





Fig. 2. — The costermonger. 



Fig. 3. — The lady-killing curate. 



lady-killing curate (Fig. 3), and the typical Soap King (Fig. 4), the 
country rustic (Fig. 5), and many other such types are excellent studies 
for representation. 

Although the character portrayals of the costumed and wigged im- 
personator depend on wordless demonstrations between the items and 




Fig. 4. — The soap king. 




Fig. 5. — The country bumpkin. 



in ordinary evening dress, the artist may announce the name of the 
personality to be represented, or have it worked in almanac fashion 
and shown to the audience as it appears. 

The former method, however, is quite usual, and perhaps more 
suitable to drawing-room entertainments. 



46 HOME FUN 

It may be kept in mind that this style of performance should 
not be unduly long, and should never exceed twelve or fifteen 
minutes. 

Speaking Impersonations 

Speaking impersonations are more difficult to achieve successfully, 
for in them, as a rule, the artist has no regalia to depend upon. His 
hair, his face, his voice, his limbs, his fingers are his only aids, but these 
are more than sufficient for the talented and skilled performer. His 
voice is as elastic as his features in power of mimicry. 

He should be clean-shaven, but with a plentiful crop of hair, which 
he can arrange and manipulate as he wishes with a mere twirl or pat 
of the hand, and these must be sympathetic and convincing expressions 
of his every movement. " There is no more expression in the back 
of the hand than in the back of the head," yet of what subtle demon- 
strations is it not capable? 

A whole epitome of human emotions may be demonstrated by the 
gradual unfolding of the flexible, sensitive fingers. The first finger 
raised, and intelligence and meaning begin to develop. The palms up- 
turned, the shoulders uplifted, and the head slightly bent, and you see 
the suave helplessness typical of the Frenchman. 

The arms flung outward, with the palms parallel, and the fingers 
falling naturally, indicate sentiments of affection, welcome, and cordial 
invitation. Stretched farther away, with fingers distended, and you 
have entreaty, desire, passionate pleading, and supplication. The wrists 
upturned, the fingers crooked, and grasping, and we see the personifica- 
tion of rage and avarice, while the raising of the open hand, what horror 
it indicates ! 

Yet the hand is only a part of the mechanism. Its soul is in the 
eye, which combines in partnership and signifies calm, candor, liberality, 
love, gentleness, meditation, resentment, boldness, defiance, wrath, and 
fear, in complete accord with its dumb component. 

The nostrils inflate in scorn, the head is proudly raised in dignity 
or joy, and meekly bowed in humility ; bent forward in shame, squarely 
upright, with firm compressed features, for determination and will 
power. 

The artist must never be tempted to sacrifice his cultured discretion 
in a portrayal. For instance, to give the cockney the musician's hand, 
or the priest the bookmaker's wink, the sly housebreaker anxious to 
escape notice the loud, boisterous guffaw of the countryman, is to be 
guilty of the most insensate blunders. 

Action and gesture should be skilled and practiced handmaidens 



CHARACTER IMPERSONATIONS 47 

to the brain that molds the idea, and their service must be winged to 
respond. 

"True ease in action comes from art, not chance, 
As they move easiest who have learnt to dance." 

Temperament 

The psychological treatment of characters depends and is influenced 
in no slight degree by temperament. The character the student is about 
to study has its peculiar atmosphere of mind and body, which uncon- 
sciously dictates and regulates its actions from head to foot. The most 
important temperaments are : — 

1. The optimistic temperament, embracing impulsive, warm-hearted, 
sanguine, easily-pleased, tender, ambitious dispositions. 

2. The pessimistic temperament, embracing nervous, timid, sensitive, 
overwrought, peevish, unstable, irritable, depressed, neurotic, restless, 
dissatisfied, cynical, morbid, self-conscious dispositions. 

3. The artistic temperament, embracing extravagant, sympathetic, 
imaginative, languid, reckless, turbulent, excitable, hot-tempered, brood- 
ing dispositions. 

4. The commercial temperament, which embraces the phlegmatic, 
lymphatic, enigmatic dispositions. 

Now, the first way of approaching a new study is to consider what 
characteristics it possesses, and to what class of temperament it 
belongs, and, when this is decided, the student asks himself, what 
gesture will be the most symbolic and eloquent of that tempera- 
ment ? 

This method, conscientiously adhered to, will provide a safe and firm 
groundwork for the beginner. 

With judgment and sense, he will soon be able to place his 
character in its right niche, and to plan his actions in accordance, 
even if he has never seriously studied gesture. The movements of 
an open-hearted, liberal man are usually large, free, and liberal. 
He opens his arms widely for an embrace. He gives you his hand 
in greeting warmly, and with frank, cordial pressure. His eyes 
shine clear and steady below a benevolent forehead. His walk, 
with its free, steady swing, is the index of his generous and kindly 
disposition. 

Now contrast him with the mean man, the usual type of which is 
pinched in physical delineation, action, expression, and thought. His 
hair grows sparsely on a skull, screwed as grimly to his face as the 
upper section of a bicycle bell to the lower. His eye is squeezed in 
a narrow slit of socket, roves backwards and forwards like a marble 



48 HOME FUN 

in a puzzle-box. His mouth is withered in bitter antagonism for his 
fellow-men. To catch a generous smile upon his colorless lips is to 
surprise a sunbeam at midnight. 

Of course, there are many shades in the scale between these ex- 
tremes of the very liberal man and the very mean one, and the artist 
who is imitating the thrifty soul must remember the infinitesimal points 
of difference which distinguish him alike from the benevolent and 
avaricious. 

And, in the wide margin of temperaments, an artist must be careful 
not to label and pigeon-hole his characters as if they were bottles 
of physic, for in the complex nature of one man there may be vast 
contradictions, just as in many good medicines there is a minute quan- 
tity of poison, so a disposition may be tinted with qualities not at all 
worthy of admiration. 

There are occasions when the most impulsive becomes cold and hesi- 
tating, the most affectionate cruel, the most benevolent calculating, and 
the most patient, hot-tempered and passionate. 

Character and Circumstance 

The artist must never forget the important crucible of circumstances 
which molds and forms each character, and sometimes is potent to 
change the most optimistic temperament to one of pessimism and cynical 
bitterness. Yet, while remembering this, one must probe beneath the 
stamped envelope of environment to decipher the hieroglyphics of the 
fettered soul inclosed. 

One does not find the wild, untutored gestures of the stump orator 
in the refined politician, nor the turbulent raving of the fanatic in the 
sermon of the cultured ecclesiastic, while the expression natural to the 
plebeian is such as the aristocrat never indulges. 

There are many natures so complex as to defy all classification, 
and to portray them successfully is an almost impossible matter unless 
one masters the delicate mechanism of their nature. A grandfather's 
clock to outward appearance is a figured circle in a narrow wooden 
case, with softly regularly-moving pendulum, but get behind that ex- 
terior to the revolving wheels, and see what an amount of intricacies 
are involved. So the man who presents a calm, self-possessed exterior 
to the world, may in reality seethe with qualities not at all phlegmatic 
or level-headed. 

In conquering the technicalities of character, one must, as far as 
possible, grip the crisis the personality has reached in his lifetime, and 
this is one reason why a historic character is easier to grasp than one 
contemporaneous. For example, he who portrays Napoleon in the flush 



CHARACTER IMPERSONATIONS 49 

of success and victory, does not represent him as he who images him 
at the end of his career — broken-hearted, alone, and in despair, suffering 
the calumny and scorn of those who exhibited most faith and admiration 
of his sanguinary achievements. 

Correct attitude and pose are extremely important, and should be 
carefully studied. The old man has tottering bowed knees, but the youth 
stands firmly. 

The reverberation of the interior gestures . rules and gives to the 
torso or trunk the inspiring grace of truth and beauty. It is only 
when a soldier or sailor on duty is being represented that the artist 
may stand bolt upright and move automatically. At all other times 
the torso should be held with flexible ease, ready to combine with eye, 
face and gesture, in the emotion and force of the impersonation. To 
portray the child with mature and abandoned gesture is to present a 
caricature of nature, and, in like manner, to represent the adult with 
the careless gestures of the child, is to convey the impression of one 
inane and undeveloped. 

In attitude, remember the maxim of Cresollius : " Without the hand, 
no eloquence." 

To imagine a boy stealing jam with the wild eye and hand-clawing 
attitude of the miser snatching at gold is to exaggerate grossly and 
confuse the human emotions, and to paint comedy as the burlesque 
of tragedy. The hands are capable of such a vast amount of expression 
that they have been considered " numerous and copious as words them- 
selves." 

While imitating characters, never be bound by the representations 
of other artists you have seen. See with your own eyes, study with 
your own brain, avoid that conventionality of fashion and ideas that 
cripples progress. Let your maxims be your own, and, when they are 
mastered, be not ashamed to demonstrate them with grand and self- 
reliant originality. 



CHAPTER V 

THE UNIVERSAL HAT 

Marvels of Chapeaugraphy 

Every entertainer must have felt at some time or other the need of a 
short " gag " to fill up that awkward gap which so frequently occurs 
between the conclusion of one long piece and the commencement of 
another. 

The mind of an audience is of a flighty nature and requires to be 
kept continually amused, or it will wander into paths of boredom; and 
many a good entertainment has failed for the simple reason that the 
ball has not been kept rolling. 

It is during one of these uncomfortable pauses that the Universal 
Hat may be appropriately introduced, and, if worked well, it cannot 
fail to gain approval. 

You can either buy or make a Universal Hat, and as to do the 
former will cost a dollar or more, whilst the' latter can be done for 
less than half that sum, it is well to be your own hat- 
maker. 

Obtain a piece of fairly strong black felt, measuring 24 inches 
square, and cut it into a ring, the diameter of the whole circle being 
24 inches, with a hole in the center 7 inches across. That is all that 
is required as far as the hat is concerned, and the success of your piece 
will now rest entirely with yourself. 

Arrange a screen behind which to retire, and have a good-sized 
mirror, so placed that you will be able to see in a moment how your 
head-dress suits. Keep a little rouge ready, as well as a burnt cork for 
blacking eyebrows, making mustaches, &c. Remember that quickness 
is a necessity, for the smarter you are in changing your hats the more 
the audience will appreciate the effect. 

Now to give a few examples of what can be done with the universal 
hat, so arranged as to give scope for any amount of ingenuity in invent- 
ing new ideas. 

Before beginning your show step from behind the screen, raise 
the ring of felt in your hand, and exhibit it to the audience. Then 
step back under cover, put the hat on your head, giving it a tilt in 

50 



THE UNIVERSAL HAT 51 

front and a rakish tip to one side, assume a stern expression, and, if 
you have a dog-whip amongst the stage properties, grasp it firmly 
in your hand, and make an appearance before the spectators in the 
character of Buffalo Bill. Take care always to face the audience as 
in Fig. 1, otherwise the top of your head will be seen through the hole 
in the hat. 

Remember that in this, as in all the other characters, a lot — indeed, 
almost everything — depends upon your expression, which should be en- 




Fig. 1.— Buffalo Bill. 

tirely in keeping with the person you represent. Buffalo Bill must not 
wear a grin, but must appear as grimly in earnest as though he were 
hastening to the relief of the Deadwood stage. 

Another point to bear in mind, is that you must not make a long 
appearance. A minute for each character is ample, and, as you 
appear before your audience, announce who you are in a tone 
suggestive of the person you are representing. A few remarks in 
keeping with the character will greatly add to the realism of your 
make-up, but let your words be like your appearances — brief and 
effective. 

Popular Characters 



Napoleon makes a good character to represent, and his hat 
is very easily made. Draw two sides of the felt through the hole 
in the center, and pull the hat firmly down about your ears, as in 



52 



HOME FUN 




Fig. 2. — A hat suggesting Napoleon. 



Fig. 2. Assume a stern expression, suggestive of Waterloo, thrust 
your left hand into your breast, hump your shoulders, and look 

fiercely at the audience as 
though you could see 
Wellington at the farther 
end of the room. 

Later on in the per- 
formance you can repre- 
sent Bonaparte's great 
antagonist by making the 
hat in the same way, but 
wearing it with the peak forward as in Fig. 3. 

General Wolfe is another easy character to assume. His hat is 
made in this way. Lay the felt ring flat on the table, lift up one side, 
draw it towards you and then pass it downwards through the hole. 
Pull back the piece that you have passed through the hole, in the 
direction from which you took it in the first place, and you will find 
it has made a hat of the shape 
shown in Fig. 4. When you 
fit it on your head pull it firmly 
down towards your ears, but 
not too tightly, and the effect 
will be complete. A little prac- 
tice will serve to perfect you in 
making the twists necessary for 
this and other hats, and patience 
will soon reward you. To 
heighten the resemblance to 
General Wolfe, whiten your 
cheeks with a little chalk and 
draw them slightly in, to give 
the appearance of being hag- 
gard and wan. If you can get 
a sword, point to the ceiling 

with it enthusiastically, as one can imagine the General did when he 
encouraged his men to climb the Heights of Abraham. 

As a contrast to these more exalted personages, you can now 
appear as the coal driver; although if you wish to increase the realism 
by smearing your face into a state of suitable dirtiness with burnt 
cork, it would be advisable to leave this character to the last. To 
make the hat, lay your felt flat as before and draw up a piece from the 
rim as was done in the case of General Wolfe. Now, instead of pass- 
ing it completely through the hole, push it only halfway through, giving 




Fig. 3. — The Iron Duke. 



THE UNIVERSAL HAT 43 

it what may be called a half twist. It will then appear as in Fig. 5, 
ready for wear. Draw it tightly over your head, and slouch upon 





Fig. 4. — General Wolfe. 



Fig. 5. — The Coal Driver. 



the scene, putting your hand to your mouth and shrieking " Coal O ! " 
in a cracked voice. 





Fig. 6. — A Priest's Biretta. 



Fig. 6a. — A Priest. 



You may now appear as a priest in a biretta. Place the felt upon 
the table and then draw a side from below, up through the hole, exactly 



54 HOME FUN 

the reverse way from that in which Wolfe's hat was made. When you 
have drawn it right through, bend it down and pass it up through the 
hole once more, thus making two twists. It then resembles Fig. 6, 
and if you draw it upon your head with the broad brim flush against 
the forehead, the impersonation will be striking. Tuck a little 
lapel of white into the collar, raise your right hand with two fingers 

extended, and face the 
company with as pious 
an expression as you can 
assume. 

As a last example, 
an effective appearance 
may be made as the 
famous Pied Piper of 
Hamelin. Having laid 
the felt flat, make a twist 
from below upwards, as 
you did in the former 
hat — the priest's biretta. 
But for this hat only one 
twist is required, so when 
you have done this, the 
hat will appear as in 
Fig. 7. You must now 
put your hands in the 
opening and stretch it 
as wide as possible, thus 
making the rolls very taut 
and firm. Turn the felt 
over and fit it on the head as shown in the picture. Draw your collar 
up, take a tin whistle in your hand, and pipe a few notes before making 
your appearance. Then slink into view with a cunning smile upon your 
lips, reciting these lines from the poem : — 




Fig. 7. — The Pied Piper. 



" Please your honors, I am able 
By means of a secret charm to draw 
All creatures living beneath the sun, 
That creep or swim, or fly or run, 
After me so as you never saw! 
And I chiefly use my charm 
On creatures that do people harm, 
The mole, the toad and newt and viper; 
And people call me the Pied Piper." 



THE UNIVERSAL HAT 55 

Of course these are but hints. An ingenious person will soon dis- 
cover endless other ways of adapting the Universal Hat in such a manner 
as to keep the audience amused for some considerable time. Always 
remember, however, these two axioms — 

Let your make-up be done quickly. 

Let your appearances be short. 



CHAPTER VI 

NIGGER MINSTRELSY 

The Comical End-men 

Some people imagine that a black face, a pair of large check 
trousers and a rather dilapidated hat, are all that's necessary to 
make a nigger minstrel. This is, however, a great mistake, and 
whosoever feels the stirring of an ambition to amuse his friends 
with a nigger entertainment, must not be discouraged if he finds the 
road harder than he expected. Its difficulties, however, are far from 
insurmountable. 

BASS. 1N TERL0CUT 0R .TENOR 

aGSDa 



STACE 





FOOT LI GHTS 



AUDIENCE. 

Fig. i. — Seating arrangements of nigger minstrel troupe. 

For a really successful nigger entertainment seven persons are 
necessary; the interlocutor — usually known as Mr. Johnson — one bass 
and one tenor singer and four " end-men." The troupe should be 
arranged as shown in Fig. i. Now. before describing what to do, 
a few words as to how you should arrange yourselves will not be out 
of place. The stage should be raised, if possible, to enable any 
member of the audience to see the performers. Unless you are per- 

56 



NIGGER MINSTRELSY 



57 



forming a farce or drama, such as will be described later, a curtain 
is not absolutely necessary, provided the troupe can get to the stage 
without having to pass right through the assembled company. 

Minstrels' " Make-up " 



As far as " make-up " is concerned, this should present no diffi- 
culty whatever. Many barbers, and some music shops, can supply 
" nigger black," which must be rubbed into the 
face and hands, after the skin has been well 
washed and dried. When the performance is 
over the black can easily be removed by means 
of soap and hot water. To redden the lips and 
enlarge the mouth, use carmine or rouge; cover 
the lips and paint them to appear as though 
stretching almost from ear to ear (Fig. 2). Cheap 
wigs can be obtained for but a small sum from 
any hairdresser. Those of Mr. Johnson and the 
sentimentalists should be as shown in Fig. 3, while 
each of the " end-men " should provide himself with Fig. 2 —Showing how 
one similar to that depicted in Fig. 4. The " inter- e ips are pam e 
locutor " and sentimentalists usually wear ordinary evening dress, the 
" end-men," however, wearing frilled collars, cuff's and fronts, as shown 






Fig. 3. — Interlocutor and senti- 
mentalist's wig. 



Fig. 4. — End-man's wig, showing 
workable tuft. 



in Fig. 5. A complete outfit comprising stockinette face, head, eyes, 
teeth, and hat can be purchased for about $2.50. 



58 HOME FUN 

Music is a necessity with a troupe, and you will accordingly require 
another person to play the piano as an accompaniment to the songs 
and choruses, as well as for the overture and instrumental pieces. It 
is also presumed that the members of the troupe have fairly good 
voices and are able to sing, not only in tune but in time with one 
another. 

In serious or sentimental songs, such as " Swanee River " and other 
favorites, the " end-men " must forego their love of mirth and take 
part in all solemnity, reserving their facetious behavior for a more 

timely moment. After these re- 
marks the principal characters 
in the troupe may be discussed. 

The interlocutor is one of 
the most important persons upon 
the stage. It is his duty to in- 
troduce each number of the pro- 
gramme to the audience; to be 
the butt of the " end-men's " 
jokes ; and to assume upon every 
occasion an air of the utmost 
ignorance and simplicity, that 
shall prove an admirable foil 
to the exuberant humor of 
his companions. He must appear absolutely innocent of any idea of 
the answers to the riddles and conundrums asked, and must reply 
to the occasionally personal remarks of his friends with the utmost 
suavity and good humor. In short, what with helping the others to 
sing and keeping the ball rolling generally, Mr. Johnson is responsible, 
to a large extent, for the success or failure of the entertainment. 




Fig. 5. — Frilled collar, shirt front, and cuffs 
used by end-man. 



From Failure to Success 

The " end-men," with whom lies the task of producing most of the 
fun of the nigger entertainment, must be possessed of a ready wit — 
able to tide over awkward pauses, prepared with some " gag " when 
the fun is beginning to flag, and capable of turning disaster into a 
mighty success. From Mr. Johnson's placid obtuseness they will be able 
to draw much sport, and bandying jokes at each other's and the inter- 
locutor's expense, should keep the audience shaking with laughter. 

Whilst on the subject of jokes a note of warning may be struck. 
The moment humor changes to vulgarity, it produces disgust in any 
respectable audience. It is therefore well worth while to think over 
the regular jokes you intend introducing into the performance, and if 



NIGGER MINSTRELSY 59 

there be any that are in the remotest way likely to offend the feelings 
of any person in the company, cut them out. 

There is another point worth remembering in the matter of jokes. 
It may seem a truism to remark that a joke should be funny, yet the 
very funniest of jokes will fall flat if it is not led up to suitably. Don't 
ask Mr. Johnson a conundrum in a meek tone as though you were 
requesting him to tell you the time. His immovably suave ignorance 
will extract the answer from you, it is true, but the chances are ten to 
one that the audience have either missed the question or will fail to see 
the point of the answer. 

Jokes should be introduced by a certain amount of patter which 
serves to engage the attention of the hearers in such a way that when 
the inevitable fun really comes they are perfectly prepared to appreciate 
it. Books can be bought containing numbers of these jokes with the 
suitable patter, and these will prove very useful to the amateur, who 
must nevertheless remember that success really depends upon the way 
in which he springs the joke upon the audience. 

Coon Songs 

And now a word about the singing. It goes without saying that 
the larger the troupe and the better trained the voices, so much the 
more enjoyable will be the choruses. The number of songs from which 
to select is legion; the best plan is to write to some leading musical 
publisher, telling him what you want. He will be only too pleased to 
send his catalogue with some advice as to what will prove suitable. 
Avoid any comic songs with a double or doubtful meaning, and keep 
to strictly characteristic songs as far as possible. Old favorites never 
fail to win applause, and are always safe to fall back upon; but do not 
be too conservative — try some novelties. 

Songs and " Gags " 

Nigger entertainments are usually divided into two parts, the first 
consisting of songs and " gags," as the short dialogues and impromptu 
jokes are called, whilst the second is devoted to stump speeches and one- 
act dramas or farces. So far as stump speeches are concerned, excellent 
collections are published by the leading publishers of that class of 
entertainment. Your bookseller will obtain a catalogue for you, and 
a choice can then be made. The speeches should be very carefully 
learnt by heart, together with the appropriate gestures (for which full 
instructions are always given), and unceasingly practiced until you are 
able to make your stump oratory bring down the house with delight. 



60 HOME FUN 

Stump speeches are the province of the " end-men," and properly 
delivered, can be relied upon to prove one of the successes of the 
evening - . 

One-Act Dramas 

With regard to one-act dramas and farces, a very exhaustive 
catalogue can be furnished by publishers, with full instructions as to 
how they should be performed. A word of advice, however, to the 
intending actors. Too much care cannot be expended upon prepara- 
tion and rehearsals. Nothing will go of itself in this world, and least 
of all plays and sketches; it is a fatal mistake to imagine that the 
smallest drama or even " gag " will succeed by its own merits and 
with only a little help from yourself. Endless trouble and care must 
be taken in preparing the simplest joke, and boisterous as the fun 
may prove upon the stage, it cannot be spontaneous, but must be dili- 
gently rehearsed again and again before it can be presented to 
your audience. 

Your great object is, not to enjoy the fun yourself but to make 
the others enjoy it, and if this is borne in mind, you will not only amuse 
them but have a delightful time yourself. Again, never forget that 
in a play one actor relies upon another to repeat the actual words of 
the " book," as cues and stage directions depend upon verbal accu- 
racy. Do not, therefore, introduce any novelties of your own — learn 
the words and keep to them, for any original introductions on your 
part may throw the whole play into disorder, exasperate the other actors 
and disgust the audience. 

To keep to the " book " is easy enough, and if you act in earnest 
— and this is essential for the most comic pieces — you will find no 
difficulty in sustaining your part correctly and intelligently. Do not 
laugh at your own jokes, unless you are instructed to do so, but keep 
a grave face and appear as though to find yourself in the most farcical 
situations were a matter of everyday life. 

To give an idea of a reasonably simple programme which shall 
include a farce, the following is suggested : — 



PART I 

Overture on the piano. A march. 

Chorus. Some song in which all voices can join. 

Solo. Preferably a sentimental song. 

Jokes. Properly led up to by an end-man. 

Comic Song. Also by an end-man. 



NIGGER MINSTRELSY 61 

Solo. Another sentimental song. And so on for ten or eleven turns, 
after which comes the 

Interval. During this the pianist can entertain the audience with 
some operatic piece. 

PART II 

Chorus. As above. 

Piano Solo. Whilst this is being played the stage should be pre- 
pared for the 
Stump Speech. 

Curtain and Piano Solo. During which the stage is arranged for the 
Farce. 

Solo. Sentimental song. 
Finale. 

This programme must, of course, be adapted to any exigencies of 
time, space or other circumstances, but will serve as an example of what 
can be done. 

To conclude with a few hints as to the actual entertainment. If 
possible, have a sufficient number of programmes printed, or carefully 
and legibly written by hand, as the most tolerant audience grows restive 
if it does not know " what comes next." Distribute these, and 
let one of your party make it his business to see that the company 
are properly and comfortably seated. Begin punctually; if your 
audience have to wait they become impatient, and as there are few 
people more incapable of seeing a joke than impatient folk, it will be 
to your own advantage to begin at the proper time. Be as silent as 
possible behind the scenes; it is very tantalizing for the spectators 
to hear a wild rushing hither and thither, hoarse whispering, and 
the various signs of excitement in which they are not allowed to 
participate. 

Of course a certain amount of bustle is unavoidable, but reduce 
it to a silent minimum. Do not be shy; remember in the first place 
that the black hides all your blushes, and in the second place that nobody 
is there to see you, but to see a " nigger " who is going to make them 
laugh. Half of your audience have probably done the same in their 
time, whilst the other half would have done so if they could; so take 
heart, and show them all how really well it can be done. However well- 
disposed your company may be, do not let that be any excuse for slovenli- 
ness on your part, but let it rather incite you to work all the harder, so 
that when everything is finished and the black is off your faces, the 
universal opinion will be — " We would never have imagined that it could 
be carried out so well ! " 



CHAPTER VII 

SOME SUGGESTIONS IN BLACK 

For " Nigger Minstrels " 

In the previous chapter hints have been given to enable a party of five or 
more performers to give a Nigger Minstrel Entertainment. The object 
of the following is to show how one or two people can contrive to amuse 
their friends with a few negro performances. 

The pieces are suitable either as items in a variety entertainment, or 
as convenient " gags " to be introduced between longer entertainments 
when the interest of the audience is to be sustained by some timely 
diversion. 

It might be remarked, by the way, that it is surprising how much 
the effect of a joke depends upon the humor of the audience. If they 
are feeling in a happy and pleasant frame of mind, the mere sight of a 
comic man is sufficient to bring forth roars and shrieks of laughter. 
But if a gloom or lack of interest has settled over the company, even the 
comic genius of the late Dan Leno would most probably have failed to 
raise a smile. 

There are two things almost invariably associated with nigger songs 
— a banjo and bones. Proficiency with both these is necessary before 
attempting to give an entertainment. 

Practice and a quick ear are indispensable for playing or even 
strumming a banjo. A very little practice will enable you to strike 
chords with ease, whilst a quick ear will show when they should be 
played. 

To make a successful " hit " with the " bones " is a question, more 
or less, of knack. 

A set of four bones costs about $1.00. When buying take care they 
are sound, i.e. with no crack or flaw, and that they contain no core of 
pith, as this is liable to dull the sound, rendering it quite impossible to 
obtain the sharp clean click so necessary for successful rendition. 

Having obtained your bones — a pair for each hand — you must know 
how they should be held. Notice they are slightly curved, as 
in Fig. i. With a pair in each hand place the ends between the first 
and second and second and third fingers, the convex sides towards 

62 




Fig. i. — Curved bone used in nigger 
minstrelsy. 



SOME SUGGESTIONS IN BLACK 63 

each other (Fig. 2). Hold No. 1 (the bone between the first and 
second fingers) fairly firmly, although not so stiffly as to rob it of a 
distinct spring. No. 2 (the bone be- 
tween the second and third fingers) 
must be rapped up against its com- 
panion by the action of the third and 
fourth fingers. 

A sharp shake of the hand will 
make the bones clap together, while 
if you keep the hand quivering and also work bone No. 2 vigorously 
a continuous rattle is produced. 

A good plan, when once you are accustomed to having the bones 

between the fingers, is to hold 
the hand with the knuckles 
upwards, the bones pointing 
to the ground, as in Fig. 3. 
By this means the fingers are 
allowed freer play. At the 
same time a better appearance 
is given to the exhibition. 

At first you will find your 
rattles jerky and spasmodic, but 
do not be content until you 
have the bones so entirely under command that you can make a long- 
rattle as easily as a solitary tap, 
remembering that the less exertion 
you betray the better will be the 
effect. 

Your own ear will show you 
how to introduce them into the 
music. Do not drown the air — 
the bones are only intended to 
give a point, to accentuate certain 
parts and not to render them in- 
audible. A smart rattle may be given at the commencement of the 
music and at the conclusion of the song. 




Fig. 2. — How to hold the bones. 




Fig. 3. — Correct position for playing the 
bones. 



Introducing Jokes 

All jokes should be introduced by a certain amount of conversational 
patter between the Interlocutor and " Bones." 

Mr. Johnson, the interlocutor, is always a very simple-minded 



64 HOME FUN 

person, unable to see any joke until it has been fairly thrown at him, 
and perfectly innocent in the presence of the most obnoxious puns. He 
has a certain patronizing air with his companion which only serves to 
make his innate simplicity more delightful. Mr. Johnson maintains an 
impassive face in the most ludicrous and trying situations by his very 
matter-of-fact behavior, extracting all kinds of smart things from the 
funny man. 

" Bones " is the very reverse of Mr. Johnson. He is up to all the 
latest catches, full of quips and puns, is possessed of a never-failing 
store of quaint experiences and remarkable stories, the most improbable 
of which are gravely swallowed by Johnson. Yet the big red lips on 
his broad black face must be immovable and never show the least 
symptom of a smile as he recounts with stolid solemnity his marvelous 
doings to his credulous friend. 

The following dialogue is arranged for these two characters. Mr. 
Johnson asks Bones all kinds of simple and apparently harmless 
questions; but Mr. Bones replies with a constant succession of puns and 
jokes : — 

Johnson. So you've been enjoying yourself, William, lately, I under- 
stand. Dining out a good deal ? 

Bones. Oh yes, that's right. I'd dine with anybody. 

Johnson. Yes, but I'm told you dined with the Mayor last week. 
Is that right? 

Bones. Oh yes, that's right. 

Johnson. Then I suppose you had an excellent dinner — plenty to 
eat and drink. What was the menu ? 

Bones. Well, to tell you the truth, there was a lot of 'em there, but 
I don't recollect him. 

Johnson. Ah, you don't understand me. I mean what was the bill 
of fare? 

Bones. Oh, well, it was a pretty fair bill. I believe it cost him about 
$300. 

Johnson. No, you don't understand me. I mean what dishes did 
you have to eat? 

Bones. Well, we didn't eat any dishes. 

Johnson. No, no, of course not; but what did you have to eat and 
drink? 

Bones. Well, I believe the first thing we had to eat was something 
to drink. 

Johnson. And what did you have to drink, then ? 

Bones. Well, it was a new soup. 

Johnson. A new soup! Well, I should like to know what that was. 
What was it called ? 



SOME SUGGESTIONS IN BLACK 65 

Bones. Oh, I don't remember exactly what it was, but you might 
mention the names of a few to help me. 

Johnson. Well, was it Mullagatawny ? 

Bones. No, it wasn't Multigatony. 

Johnson. Was it Mock Turtle? 

Bones. No, it wasn't him. 

Johnson. Was it gravy? 

Bones. No. 

Johnson. Was it spring? 

Bones. No, it wasn't spring, it was summer. 

Johnson. Well, I must give it up, William. What was it? 

Bones. Oh, I know, it was what they call — er — er — shadow soup. 

Johnson. Oh, then, it must be a new soup. I've never heard of 
shadow soup. 

Bones. Never heard of shadow soup? 

Johnson. No, I haven't. I should like to taste that. How is it 
made? 

Bones. I'll tell you. You go down to the market, buy a nice chicken, 
take it home, stretch a line across the yard, hang the chicken in the 
middle of the line, put a nice clean pail of water under the chicken, and 
when the sun comes out it casts its beautiful rays on the chicken, reflects 
the shadow in the pail of water, and that's what they call shadow soup. 

Johnson. Oh, you go down to the market, buy a nice chicken, take 
it home, stretch a line across the yard, hang the chicken in the middle 
of the line, put a nice clean pail of water under the chicken, and when 
the sun comes out it casts its beautiful rays on the chicken and reflects 
the shadow in the water, and that's what they call shadow soup. 

Bones. Yes. 

Johnson. But, my dear sir, you've forgotten one of the principal 
things. 

Bones. Oh, have I? What's that? 

Johnson. What's that? Why, supposing you have no sun? 

Bones. Well, then — you have no soup. 

Stump Speeches 

A little extra effort in the matter of make-up might be attempted 
for stump speeches, for the orator should be as " seedy " as possible in 
the way of costume. A tattered coat and battered hat are usually con- 
sidered essential to the character, whilst an old dilapidated umbrella, of 
bulky form and shapeless proportions, is useful for brandishing at 
the emotional parts of thumping as the impressive points in the speech 
are reached. 



66 HOME FUN 

The stump orator should deliver his speech mounted upon a rickety 
chair or table, for his exaggerated endeavors to maintain his balance 
will be certain to cause fun amongst the audience. 

Having taken his position with much danger, and with a familiar 
look at the spectators, the speaker may embark upon the lecture. He 
should speak distinctly and slowly, pausing every now and again to 
illustrate his remarks with some quip or to steady himself upon the very 
rocky pulpit. 

As an example he may take the following, which will serve for the 
opening sentences of a stump speech on " Sound " : — 

Ladies and Gentlemen, and others. I have much, I have much (puts 
hand in pocket as if to feel how much money he has), I say I have 
much — much feeling of proudness in assembling here in large numbers 
before you — me — you here dis even. The subject of my investigation 
has been for many long years, that is to say early years, short years, 
new years, old years, pig's and donkey's ears, and the rest of the 
human race. I say the subject of my intellectual and not at all less 
pig's-head-a-frying lecture on the various means of communicating our 
thoughts, words, title-deeds, and other chattels, such as sauce-pans, 
frying-pans, umbrellas, knobbed sticks, brick-bats and bricks without 
bats, I say the subject of this important question, whether it be the 
pop-shopular question or whether it be unwise to mention, or otherwise 
in dimension, let it be understood that previous to preparing myself 
to begin — to commence, I must ask a few questions about the tempera- 
ments, detriments out-o-debtriments, cape-abilities, cloak-abilities, hats, 
caps, boots, shoes, underlinen, socks, and other kind of earthenware. 
I say before I, as I said before I said "I say before" — this subject 
can be clothes-properly dissolved, we will, although I say it myself, 
ladies and gentlemen, I say we shall, ladies, we shall all be dead men. 
(Takes pinch of snuff, wipes nose with wet part of handkerchief, wiping 
off some black. Resumes dialogue.) 

Music for Minstrelsy 

Taking it for granted that the would-be minstrels have reasonably 
good voices, the only difficulty will be " selection." Of course a great 
deal of tact is required to know what class of music is best suited to 
the audience. 

Have as much variety as possible. Do not confine yourself exclu- 
sively to comic songs or to sentimental ditties alone. At all costs keep 
your audience cheerful and amused. Too much humor is apt to 
nauseate, but too much melancholy will certainly spell failure. Try to 
gauge the temper of your company, and if they seem to prefer the 



SOME SUGGESTIONS IN BLACK 67 

serious to the comic parts on your programme, or vice versa, make as 
quick and effective an alteration as you can. They must be made to 
appreciate you — not simply to tolerate you. 

To have a piano accompaniment is a distinct acquisition if the voices 
be of doubtful merit. For accomplished singers a banjo is quite suffi- 
cient, but the amateur will certainly find that a friend at the piano is 
very handy and reliable. This is, of course, entirely a matter of in- 
dividual taste and circumstances. 

A very good selection of nigger dialogues, speeches, &c, can be 
obtained from any theatrical publisher. The entertainer will be fur- 
nished with useful ideas for a programme, including some of the most 
successful minstrels' songs and drolleries. 

As the Stump Orator would say, " We must now draw a delusion 
to our not over long lecture," feeling confident that the amateur nigger 
will find his entertainment as great a source of pleasure to himself as of 
amusement to the audience. 



CHAPTER VIII 

TABLEAUX VIVANTS 

True-to-Life Representations 

Tableaux may be divided into two important classes — the portrayal 
of abstract qualities, which usually includes motionless figures posed 




The Hero. 



The Martyr. 



in sustained attitudes, and historic and romantic groups, in which the 
actor is allowed some occupation. 



TABLEAUX VIVANTS 69 

The first class is most difficult of successful achievement. In it, 
the whole gamut of emotions common to mankind may be symbolized, 
and in these attitude and gesture are governed by the mind, which 
should be revealed in every muscle, curve, and limb of the human 
frame. 

Strength, courage, fidelity, chivalry, purity, and honesty should be 
posed in such a manner that the simple grandeur and dignity of these 





The Ascetic. 



The Fanatic. 



attributes cannot be mistaken. The hero, the martyr, the ascetic, the 
fanatic have each a commonly recognized type and pose. 

The shrinking form of the coward — he who fears all things greater 
than himself — must bear the stamp of the puny soul unveiled. The 
eye of the hypocrite, the cunning, the evil and degraded, is as different 
from the gaze of the pure of heart as the muddy, stagnant pool is 
different from the wide, blue expanse of salt sea — the air of a foul room 
from the breath inhaled beneath the open sky. 



70 HOME FUN 

And in the same way that grand music is expressive of all human 
emotions, and as welcome to the ear as the song of birds, so form and 
color, attitude and character, in living pictures are potent emblems of 
the strength and weakness of complex humanity. 

The figure that is to symbolize Hope must possess that wondrous 
attribute in herself, otherwise no trickery of dress or limelight can make 
her anything but a caricature of the spirit of optimism. 

So that, in order to portray virtues and vices as they are, the stage 
manager's craft reaches beyond superficial knowledge. Psychology and 
intuition are even more important to him than experience regarding 
blending of colors, arrangement of lights and grouping of forms, for 
the human mind is the keynote in which his music is revealed, the 
touchstone of his secret, the mystic spirit dominating the symmetry of 
gesture. 

In the choice of individuals, personal character is weighty — pink 
and white flesh tints, however perfectly blended in a face, do not stand 
for Patience, Charity, or Sympathy unless the heart behind is pulsed 
on the pivot-springs of these virtues, for the experienced eye of the 
spectator probes beyond paint and attitude, and knows perfectly well 
whether these virtues are rightly embodied or merely distorted 
mimicry. 

Therefore the stage manager of tableaux vivants, before all else, 
needs penetration in recognizing and choosing exponents suitable to 
interpret the abstract conditions he is anxious to depict, and it is only 
when his choice is made that the training, grouping, and scenic effects 
need be considered. 

Tableaux vivants are in character not unlike a symphony. The 
theme in both is important. In the latter, the interweaving of other 
parts enhances the beauty of the dominating strain, as in the former, 
where harmonizing colors and stage effects, important as they are, re- 
main ever subordinate to the principal conception aspired. 

Of course, in the training of subjects, it is very necessary that one 
attitude should be maintained by each figure and remain unbroken from 
the lift to the fall of the curtain, and this without rigidity of 
body, unless the characteristic is typified in rigid lines; but even 
more important is the necessity that the mind should not waver nor 
the features change to an expression not in harmony with the attribute 
typified. 

Hope does not frown or smile, and all nervous twitching is absent 
from the tranquil face and figure of Serenity. Courage shows a lofty 
brow and steady eye — the shoulders are squared resolutely, but not 
aggressively. 

Mercy, Pity, Love, Gentleness, Sweetness, and Charity are most 



TABLEAUX VIVANTS 71 

perfectly imaged by women, who naturally possess these virtues; Dig- 
nity, Determination, Steadfastness, and Chivalry by men. But the stage 
manager need not limit himself by any conventions in this particular, 
for it sometimes happens that a woman's face and form breathe charac- 
teristics usually found in certain types of manhood, while a man's 
countenance may be eloquent of the gentle virtues typical of 
womanhood. 

The thoughts of each character must be concentrated on the 
part undertaken, and the onlookers absolutely forgotten. As far 
as possible the actors should forget that there is a certain amount 
of strain in the immovable pose, otherwise limbs will twitch and the 
balance and pose be in peril. With sufficient practice it will not be 
difficult to remain in the attitude fixed upon for the few minutes 
after the curtain is lifted. It is only at first that the limbs, either through 
inexperience or nervousness, prove rebellious. The impersonators should 
not be afraid to breathe regularly, for this prevents artificial 
rigidity. 

Figures should not be crowded together. A small stage, such as 
would be used in a drawing-room, requires a picture in proportion. 
The dresses and lights should blend harmoniously with the background 
and frame. 

Staging 

Fig. 1 depicts the lighting arrangement at back of frame. The 
guard-wires, running from side to side, are to prevent the possibility 
of dresses catching fire. The footlights usually consist of ordinary 
night-lights with illumination glass covers. Behind these are tin shades 
for reflectors. Electric light, if available, can be substituted for oil 
lamps as shown. In the same sketch a curtain-raising apparatus also 
appears. Two persons should be chosen for its manipulation, and be 
always stationed in such a position that they can draw and divide the 
curtain at the given signal. 

Every separate production is timed by the stage manager or some 
other reliable person, and the duration of each should be exact. Three, 
or at the most four, minutes are ample time for the audience to take 
in the details of the picture, and the instant the curtain is drawn an- 
other group is arranged, the actors being perfectly familiar with the 
position and pose they are to take, going to their places without con- 
fusion or disorder. 

In a succession of group-pictures different groups of actors are 
necessary, for it is impossible for the same persons to change their 
costumes in the minute or so that intervenes before the succeeding 
spectacle. 



72 HOME FUN 

Where the number of players amounts to fifteen, twenty, or twenty- 
five, the number of tableaux arranged upon can be divided between 
them, and the productions, consisting of from two to five figures, ar- 
ranged in such a way that during group A's tableaux group B is ready 
in the wings and takes the stage the instant group A disappears through 




Q m m rr > 

— ii^jj 



CTt 



■IjJI HJL 



/ 






/ 



///// / / H \ \ \ \ \ \ ^ 

Fig. i. — Lighting arrangement for back of frame. 



a different exit to the dressing-room. Next, group C takes group B's 
place in the wings, and so on with all the groups. In this way each has 
a few minutes in which to change. 

Confusion and fussing will be prevented by each group knowing 
exactly their manner and mode of entrance. Some plan, which 
renders it impossible for group A leaving the stage to collide with 
group B in the wings, must be fixed upon. Because the tableaux take 



TABLEAUX VIVANTS 73 

place in a strange drawing-room, where there is not much accommoda- 
tion possible behind the platform, and few entrances and exits, is no 
adequate excuse for any bungling or confusion. 

However limited the space, the stage manager and his company 
should hit upon some plan that makes for order and precision. To do 
this, the performers should come early to rehearse entrances and exits, 
and then memorize them, for any mistake behind the scene, even if 
of so slight a character that it does not retard the productions, is apt 
to disturb the nerves of the players, and rob them of their necessary 
calm. 

There should be no laughing or talking, for sounds easily penetrate 
through a drawing-room, and not only disturb the audience, but draw 
from their task the attention of the group occupying the stage. 

The stage manager, who feels unable to represent abstract qualities 
perfectly, would do well to avoid them altogether. 

It may happen that his actors include a few who are absolutely raw 
material where tableaux are concerned, and upon such occasions he 
should always have a few studies in his repertoire in which motionless 
poses are not necessary. 

Penelope and Ulysses 

For example, a pretty novice, sitting at a spinning-wheel, weaving 
imaginary threads from a spindle of flax, will do very well as Penelope, 
spinning her endless garment during the absence of Ulysses. In a 
simple white or colored gown, with her hair falling over her shoulders, 
and her head bent slightly over the wheel, she makes a pleasing 
picture. 

Cinderella, seated on the floor, gazing into the cinders, with her hands 
clasped round her knees, is another quite easily adopted attitude. 

Another pretty scene, acted over the spinning-wheel, is the Lady of 
Shalott, weaving " a magic web with colors gay," and peering from 
time to time at the mirror above her, which reflects " the highway near, 
winding down to Camelot." 

In this tableau the facial expression is wholly different from that 
which dominates Penelope's features. Penelope's labor is inspired by 
stratagem, to keep her unwelcome suitors at bay. Her soul is steeped 
in a patience so melancholy that it verges on despair, whereas the Lady 
of Shalott " weaves by night and day," because she believes she is 
chained to her task by an awful power. If she pauses a moment, a 
curse will fall upon her. Her eyes, therefore, are wild with fear, her 
face contorted, her fingers pluck the threads feverishly, and there is 
none of Penelope's listlessness in her wild agonized concentration. 



74 HOME FUN 

History and fiction teem with incidents that can be easily translated 
into groups, wherein an absolutely motionless attitude is not required. 
The three witches in " Macbeth," in their cone-shaped hats, tattered 
rags, and disheveled hair, their wild, evil prophecy, seared in the deep 
lines of their withered faces, haunched on the ground conspiring 
together. 

Guinevere, prone on the convent floor of " the holy house at Almes- 
bury " ; King Arthur, fully armed, and stained with battle, bending 
over her in agonized tenderness, pity, and shame; and many other 

examples, which will 
easily be found by the 
stage manager, ambi- 
y ^ ( ,7^^ tious to exhibit pictures 

^^^^^^ ^p| t more unique than those 

))y \ty I I / usually adopted. 

1 1\ l 

Stage " Props " 

The materials used 
for characters need not 
be expensive or diffi- 
cult to procure. Cheap 
sateens, muslins, vel- 
veteens, gold paper 
pasted over cardboard 
and large buttons, 
glass diamonds and 
emeralds, tinsel and sil- 
ver braid, bright-col- 
ored ribbons from the 
remnant basket, discarded shoes and stockings, transformed by cheap 
dyes, vari-colored beads, imitation ermines, tin swords and armor — all 
these are useful and effective beneath the lime-light. 

Backgrounds may be arranged by means of curtains draped over 
the walls in colors that blend or contrast harmoniously as desired 
with the tableau produced. Properties, such as old wine flagons, 
lamps, &c, may be fashioned by means of cardboard, cut in the 
necessary shape, gummed together, and covered with gold or silver 
paper. 

Fancy dress magazines and illustrated histories will reveal many 
secrets to the stage manager. Better still, a visit to a museum, when 
he is in doubt about the shape and period of some article he requires, 
and observation of the properties utilized in historic or Shakespearean 




Tiers for back-stage grouping. 



TABLEAUX VIVANTS 75 

plays will well repay time and trouble spent. Duplicates in lead, wood, 
or tin of almost any old article can be fashioned well enough to answer 
his purpose. 

When a large group of figures is to be arranged, light wooden lad- 
ders, placed in a semicircle, and covered with some appropriate color, 
make easy and adaptable tiers, on each step of which a figure is posed, 
or an arrangement of tiers for back-stage grouping can be made as 
shown in Fig. 2. 

The most expensive aids in the stage manager's paraphernalia — and 
these, alas, there is no overcoming — are the supply of the lime-light 
and the loan of the wigs. But in this direction he should not be too 
ambitious, contenting himself at the start with a moderate outfit in 
accordance with his means and inexperience. 



CHAPTER IX 

CHARADES 

An Old Favorite for Indoor Parties 

One of the most popular indoor entertainments for winter evenings, or 
indoor parties, both with children and " grown-ups," is charades. Not 
only do they afford amusement to the audience, but the players them- 
selves obtain a good deal of fun from their efforts to baffle those who 
are listening to them. 

Suppose, for instance, that a "party" is composed of some twenty 
people. About five or six of them are selected to go outside, choose a 
word, which can easily be split into syllables, each making a word in 
itself. 

The players must not waste too much time in planning how best to 
act the words, or the audience will show signs of impatience. This can 
also be averted by the hostess arranging for a musical, or other little 
" stop-gap " to fill up the time which must necessarily elapse be- 
tween the moment when the players retire and their subsequent 
appearance. 

Having thought of a little sketch which will take in all the several 
parts of the word chosen, the players arrange impromptu scenery and 
start the first act, taking care to bring in the first syllable, and yet not 
giving it undue prominence. This care must be observed all the way 
through the charade, as the fun is much greater when the listeners cannot 
guess the word too easily. 

If the word chosen is " Indignation," it is split into three syllables — 
In, dig, nation. 

These words having been acted, in the last scene the complete word 
is brought in, and as it is through this act the audience will listen most 
carefully for a clew, the players, if they wish to baffle them, should do 
their best to bring in a variety of words in order to mislead the 
listeners. 

In many cases a little scenery adds considerably to the successful pres- 
entation of charades. A " window " frequently proves of service. 
But it may happen that the end of the room where the actual window 
is situated does not lend itself conveniently to the performance of the 

76 



CHARADES 



77 



charade, and in this cir- 
cumstance the best plan 
is to improvise an " artifi- 
cial window," which, being 
portable, can be used in 
any required position. 

An " Artificial 
Window " 

A start can be made in 

construction by procuring 

a sheet of strong white 

paper of the requisite size. 

With India ink or chalk 

the thick black lines, as 

shown in Fig. I, are painted, 

in. The dotted lines repre- 
sent the sheet of paper, the 

four holes the positions at 

which the nails fasten it to 

the wall, and the finished 

effect of an interior window 

is obtained by the draping 

of art muslin or curtains, as 

suggested by the diagram. 

Oftentimes a little exterior scene is w r anted. A simple way of 

improvising a cottage is that 
of using two screens placed 
as shown (A, A, Fig. 2). 
^ A plank or the shelf of a 
cupboard is placed across 
the top (D, Fig. 2), and kept 
in position either by nails or 
gimlets screwed into the top 
of the screens. 

A tablecloth of any bright 
color, preferably red, is 
stretched from points (B, B, 
Fig. 3), slanting downwards 
and slightly over the edge of 
the screens. 
Two "artificial windows" (C, C, Fig. 3) should be then pinned to 




Fig. 1. — Interior artificial window for charades. 




Fig. 2. 



PLAN 

-Plan for improvised cottage. 



78 HOME FUN 

the screens, and the exterior of cottage is complete, an additional artistic 

effect being produced by fixing 
^ flower-stands with ferns in po- 

sitions as shown (E, E, Fig. 2). 

" A Seaside Scene " 

At first sight it might seem 
out of the question to produce 
a really passable scene repre- 
V/ALL senting " the rolling deep." 
This may be easily carried 
out, however, by a careful 
study of Fig. 4, and the re- 
quisitioning of such common- 
place articles as a large white 
sheet, which is stretched and 
nailed to the wall, a few rolls 
of stout white-backed wall- 
paper, hassocks, boxes, and 
old brown or gray cloths. 



A 

Fig. 3. — Exterior view of improvised cottage. 

The wall-paper is cut into three lengths corresponding with the 





Fig. 4. — A sea scene, 
width of the sheet, one about 18 inches in depth (A, Fig. 4), the next 
28 inches (B, Fig. 4), and the third 34 inches (C, Fig. 4). 



CHARADES 79 

At each end a piece of wood is fastened (D, Fig. 4), behind which 
is glued a block of wood or small weighted box (E, Fig. 4). 

The lengths of paper, marked A and B, are cut in zig-zag fashion at 
the top in order to produce the appearance of waves, the effect being- 
enhanced by an application of blue paint used as shown in the diagram. 
The strip of paper marked C forms the horizon, therefore the top of this 
should be left straight and painted blue to a depth of about 10 inches. 

To complete the effect, boxes, hassocks, and stools of different 
heights are grouped round and covered with the gray cloths to represent 
rocks (F, F, Fig. 4). 

An empty barrel and a few coils of rope flung carelessly about help 
to make a more realistic scene, and well guarded lamps placed between 
the slips representing waves throw them up into necessary prominence. 



A Portable Tent 

A portable tent is made from a few sheets of brown paper glued 
together to form a huge square (A, A, A, A, Fig. 5), the paper cut out 




Fig. 5.- 



-A portable tent. 



80 HOME FUN 

to the shape described (B, B, B, B, Fig. 5), and folded at the dotted 
lines, C, C, C, C. 

The whole is then arranged over three poles, crossed and tied to- 
gether at the top, an opening or entrance being formed by the segment 
cut away. 

Outfit for Highwayman 

A highwayman's mask will prove easy of construction, and a thing 
of delight to the average boy. Moreover, it will often find a place in 
charades. 

On a width of black sateen or any other suitable material a design 






Fig. 6. — A highwayman's mask. 



A C 

Fig. 7. — Highwayman's leggings. 



is drawn as shown in Fig. 6, marked with chalk and cut away to fit the 
face. A piece of thin black tape is fixed to either side, so that the mask 
may be tied round the head just above the ears. 



Amongst 



the highwayman's outfit there 



must certainly be a pair of high boots, but as 
these are not found in every household, it may 
be as well to give a few simple directions for 
the making of them. 

From several sheets of stout brown paper 
four pieces of the shape indicated at (A, Fig. 7), 
are cut. So that the tops of the boot shall not 
crack when the leg is bent, small pieces of paper Fig. 8.— Highwayman's hat. 
are gummed at either side, as shown (B, Fig. 7). 

Only the fixing of a piece of tape, or double fold of the paper for 
the instep, remains to be done (C, Fig. 7), and an excellent pair of 
highwayman's boots is to hand. 






Fig. 9. — Front and back view of a policeman's helmet. 



CHARADES 81 

An ordinary pliable felt or straw hat can be easily and quickly 
transformed into a three-cornered highwayman's hat. A study of Fig. 8 
will explain where the stitches are to be taken from the brim to the 
crown. 

A Policeman's Helmet 

Two hard felt derby hats properly treated make an excellent repre- 
sentation of a policeman's helmet, which will very often be found useful 
for charade acting. 

It is first of all neces- 
sary to cut off the brim 
of one of the hats at the 
point where the band 
comes. The crown of 
the second one is also 
cut off, but some three 
inches above the band. 

The first crown is 
next carefully fitted over the brim portion of the other one, and tacked 
round firmly so that the two pieces do not slip. 

The headgear now presents the appearance of an abnormally high 

derby hat. 

The curved part 
of the brim is cut 
away, and the front 
shaped to a point, 
as shown in Fig. 9, 
and the brim at 
the back is nicely 
rounded. 

The usual orna- 
mentation may be 
suggested by the 
application of chalk, 
the addition of a 
large-sized wooden 
button mold glued 
to the top of the crown, a chin-strap of shiny black leather completing 
the article. 

A Chinaman's Head Covering 

A Chinaman is a character quite easily portrayed, and one which can 
be simply represented by pressing into service articles of everyday use. 





Fig. 10. — Skull cap, pigtail, and hat for Chinaman. 



82 HOME FUN 

From a piece of pale pink sateen the head covering (A, Fig. 10) 
is fashioned, a string run through at C to be drawn out or in at will; 
and a piece of rope or twist of darning cotton, B, sewn on at the back 
for a pigtail. 

Then if the would-be Chinaman wishes to cover his head still further, 
the lid of the linen basket provides him with a hat, when a piece of braid 
or black paper has been fixed to the rim, and a string sewn on for the 
chin-strap. 

A highly-colored dressing jacket and a pair of rather loose white 
trousers complete the Chinaman's outfit. 

Advertisement Charades 

Whilst some people consider the ordinary charades the best fun, 
there are others equally ready to admit that they prefer the " dumb " 
representation of words chosen, one of the most popular of these being 
the " advertisement " charade, wherein some well-known poster is chosen 
and acted in silence. 

A well-known soap advertisement which has been so popular for 
years serves as an excellent illustration. There are few, if any, who 
could not recall the picture. 

A man, dirty of face and hands, with torn clothing, sits at a table 
writing a letter. 

A faithful representation of this can be easily produced by the aid 
of soot smeared carefully over the face and hands, and a wig of tousled 
hair. 

Perhaps a dozen advertisements can be " played," a few moments 
elapsing between each for the audience to write down their " guesses " 
on slips of paper, which are afterwards collected, and a prize awarded to 
the competitor who has the largest number of answers correct. 

The two following examples of charades are given so that the 
players may fit in their own words. If the charades need to be written 
in dialogue form and committed to memory days before they are played, 
much more trouble is given, and the game becomes a somewhat irksome 
one. 

Baronetcy 

[baron-ate (et)-cy( sea).] 

First Syllable. 

BARON. 

Enter two boys dressed as highwaymen. For this purpose art 
muslin scarves tied round the waist, hats and masks as already 



CHARADES 83 

described, and toy pistols are enough, with a scenery of trees painted 
on some stout paper. 

First boy addresses his comrade in tones of mystery, glancing to 
right and left as though he is expecting somebody. At length he holds 
up a warning finger: " Hist! The Baron comes this way! " 

They secrete themselves and wait until the Baron approaches. He 
looks round, whereupon the two highwaymen jump out, secure him, 
and make off. 

The Baron's servants arrive on the scene too late, but vow they will 
track the robbers, and start off in hot pursuit. 

End of First Act. 

Second Syllable. 

ate-(et). 

Baron asleep in one corner of a tent (made as previously described). 

The robbers are eating their dinner, and talking in low tones of the 
ransom they expect to get for their prisoner. Whilst they are talking 
the Baron awakes. They are so intent upon their conversation that 
they do not observe him arise, creep up, and steal their food. He 
eats it, and returns to his corner again. 

The ruffians discover their food is gone and are furious, but do 
not suspect their prisoner, who they suppose is still slumbering. 

The Baron is so amused at their efforts to find the thief that he 
begins to laugh, rocking himself to and fro, and at last shouts, " I ate 
it, I ate it." 

Just as they are about to flog him a noise of tramping feet is heard, 
and they hasten to see who is coming. 

End of Second Act. 



Third Syllable. 

sea-(cy). 

Baron and his faithful retainers are sitting by the seashore, and he 
is telling them how he made his escape from the robbers. 

As they are talking an old beggar comes along. The Baron at once 
recognizes him as one of the robbers, and gives orders that he is to be 
seized and bound. Presently the other one arrives, and he is treated 
in the same way. 



84 HOME FUN 

Finally the Baron promises to forgive them if they will give up 
highway robbery and go to sea. 

End of Third Act. 

Baronetcy 

Enter several boys in ragged clothes as newsboys. They are shout- 
ing papers for sale, and the chief thing that can be heard is " Extry — 
Capture of a Baron at Sea." 

The boys discuss the news, and at last one of them bursts into a 
fit of laughter after having opened the paper. The others crowd round 
to see what is causing the merriment. 

Laughingly he explains that it is not an account of an exciting 
piratical affair, but merely the report of the capture of a Baronetcy in 
England by a fair cousin from the United States. 

Beanstalk 
First Syllable. 

BEAN. 

Scene. — Widow Frankey's kitchen. Representation of this made by 
use of window described above, kitchen table and chairs, plates, 
pastry board, &c. 

Widow Frankey, in apron and cap, is busy making pastry, 
and talking to herself about her son Jack, and wondering when 
he will return from the errand on which she has sent him. 

Jack appears. Tells his mother where he has been, and she 
scolds him for being so slow. 

He goes out in a temper, and Widow Frankey leaves her work, 
sits down and cries, finally falling asleep. 

Jack returns, finds his mother asleep, and determines to make 
up for his ill-temper by finishing the pudding she has already 
begun. 

(An amusing scene can be shown here by the funny mistakes he 
makes, putting into the pudding all kinds of odd ingredients, amongst 
them a bean.) 

His mother awakes, to find dinner set, and ready. 
There is great fun over the pudding when the widow finds 
the bean. 

End of First Act. 



CHARADES 85 

Second Syllable. 

STALK. 

Scene. — Corner of market-place, where a flower-seller has her stall. 
For this purpose a table, draped with art muslin, with a few pots 
of ferns on it, and some flowers made from tissue paper, will be 
all that is required. 

Girl sits on a stool doing up bunches of flowers. 

Jack comes along running, and in his hurry knocks the table 
over. 

Flower-seller pretends to be very angry, and insists upon Jack's 
paying for the damage. 

He does so, and the girl laughingly gives him the stalk of a 
flower for fun. He puts it in his button-hole and walks off, leaving 
the girl laughing. 

End of Second Act. 



BEANSTALK 

Scene. — Widow Frankey's kitchen. 

Jack returns to his home, and tells his mother of his escapade, 
showing her the stalk which the flower-girl had given him. 
Just then the door opens, and the flower-girl enters, throws Jack's 
money on the table, telling him she took it only for a joke. He returns 
the stalk to the girl, who laughingly tells him that it is a bean- 
stalk. 

Widow Frankey retires, and Jack tells the pretty flower-girl that 
he loves her. 

End of Last Act. 



CHAPTER X 

THE POSSIBILITIES OF THE MUSICAL SKETCH 

The musical sketch occupies a high and prominent position in the 
scale of entertainments given by the individual. With many it is 
more popular than ventriloquism, impersonations, reciting, or conjur- 
ing, and needs as much skill and study as any of these other 
accomplishments. For its successful rendition the artist must be 
equipped with 

i. Subtle humor and pathos. 

2. Impromptu patter. 

3. A good memory. 

4. A clear pronunciation. 

5. Mimicry. 

6. Self -accompaniment from memory. 

7. Individuality and mastery of the audience. 

He must also be well versed in the popular topics of the day, and 
be able to dish them up in an attractive manner to suit the humor of 
his various hearers; and, of course, a certain amount of natural talent 
is indispensable. 

In this mode of entertainment there should be no pause. The whole 
time the artist should either be engaged in patter or playing, and he 
must go from anecdote to anecdote smoothly and without jerkiness, 
always relating his stories as if they were his own experiences. 

He should begin an after-dinner story in some such way as — 

" The other night, when dining with my friend, Mr. A., I had the 
misfortune to be stuck down beside his elderly maiden aunt, Miss 
Dimbledock, who my host had previously informed me was a 
stanch adherent to the Blue Ribbon Army. Now, as Mr. A. is her 
only living relative, he naturally expected to inherit her wealth, and 
consequently had given instructions to Coggledab, the butler (who 
on ordinary occasions served as coachman), that especial attention 
and care were to be lavished upon her severe and abstemious person; 
but, alas, he had forgotten to instill him with her principles, and the 
result was that the poor old lady was mortally offended, for, ere 

86 



POSSIBILITIES OF THE MUSICAL SKETCH 87 

we had reached the second course, Coggledab leaned over her chair 
in a fatherly and solicitous manner that well became his white hairs 
and portly person, and whispered in a voice that penetrated every corner 
of the room : 

" ' Gin, whisky, or brandy, Mum? You can't be enjyin' of yourself! 
Y 011 re not drinkin'I ' 

" And it is to this apparently trivial incident that a year ago a 
flourishing dogs' home was opened in New York, and that my poor 
friend Mr. A. can be seen any day selling matches at his post in Times 
Square ! And talking of the importance of trivialities, reminds me of 
an adventure that befell me the other day. I had hired a taxi-cab, 

and was just stepping into it ," &c, &c, thus introducing quite a 

different anecdote. 

Now, the outlines of the incident of Mr. A.'s dinner-party are 
taken from a comic paper, but twisted and colored to suit the require- 
ments of the artist; and there are many stories that may be dished up 
in similar manner, while frequently personal experiences are extremely 
humorous when rightly treated. 



The " All in All " 

The artist should study and cultivate the correct and various methods 
of telling a story, remembering Pope's adage — 

" For style is all in all, whate'er is writ, 
The substitute for genius, sense, and wit." 

If the style of writing is important, how much more is the manner 
of verbal narration. The wittiest story may fall to pieces in the hand 
of the inartistic, while the most trivial incident humorously handled may 
be greeted with shrieks of merriment. 

The raconteur must give his audience the impression of frank geni- 
ality and friendliness without familiarity, his attitude cunningly eloquent 
of the man who is about to open his heart to a confidante. 

Orchestra chairs and gallery are his bosom friends. He twinkles and 
patters at them right merrily. If he paints their peculiarities or laughs at 
their social ways he must flavor his babbling with the tender fun 
of mat greatest of humorists, Charles Lamb, who never aped or 
scoffed at physical deformity, and was never cynical at another's 
expense. 

The caricatures depicted by mimicry must be cleansed of that 
sour Voltaire bitterness and cruelty, the artist always remembering 



88 HOME FUN 

that he is performing in order to beguile, and he must cultivate that 
delicate tact which prevents him from imitating the withered idiosyn- 
crasies supposed to be typical of the old maid in the drawing-room, 
when he knows that some spinster relative or friend is present. 

The public possesses a vast fund of humor, and there is nothing 
it loves so much as a hearty laugh, but its risibilities should be 
handled as delicately as a trout is tickled, and if they are only 
provoked at the dear expense of some unfortunate individual, they 
are coarse and vulgar, and the artist himself is culpable. The broad 
double meanings of apparently innocent witticisms one might have 
heard at some vaudeville halls should be rigorously avoided. There 
are gentlemen, fine-souled and clean of mind, in your gallery as in 
your orchestra chairs. Treat them as such. Appeal to the best, to 
the refined sense of the ludicrous that lurks in every mind, and you 
will be as welcome in the most select drawing-room as in the 
theater. 

Humor and fun are as bracing and purifying a tonic as a breath 
of sea air. They should be steeped in the salt ozone of wit, but never 
in the withering blight of vulgarity. 

An Artist — and a Gentleman 

The artist should be large-souled and natural in attitude and gesture 
— a gentleman from head to heel in the best sense of the word — and 
the result will brace up and encourage him, for he will observe 
the faded city merchant laughing with the heart-whole abandon of the 
child. 

It is not necessary, and it may become even monotonous, to pose 
forever as the comedian who sees fun in every incident around him. 
A great and versatile artist, now deceased, in the middle of his recital 
would sit down at the zither when the room was still ringing with 
laughter, provoked by his keen shafts of humor, and win tears by the 
exquisite pathos of the refrain: "The mill will never grind with the 
water that is past." 

Maudlin melodrama is not pathos any more than vulgar mockery 
is humor. A thin veil lies between tears and laughter, and both are 
nearer the surface than some artists realize. Both are noble and whole- 
some, and so should never be made puny by too little giving or rendered 
grotesque by too much. 

A most effective means of self -accompaniment is the harp, and one 
moreover which adapts itself exquisitely to the subtle charm and chang- 
ing qualities of the human voice, but only in the performer's 
more serious moments. To twang at this instrument and pose above 



POSSIBILITIES OF THE MUSICAL SKETCH 89 

it in the attitude of the comedian, to pluck it banjo fashion, is to 
displease and jar the sensibilities of the most uninitiated of the 
audience. 

The dual art is a stumbling-block to many a versatile artist, and 
its perfection needs a tremendous amount of persevering and diligent 
practice. There are some gifted performers to whom the art of patter- 
ing or reciting to music is inborn, and so extremely facile, but to the 
less fortunate it presents discouraging obstacles, and the power of im- 
provising an accompaniment suitable to the anecdote or poem related is 
not given to the majority. 

However, the student should remember and be encouraged by the 
fact that " steady effort attracts unknown powers to our aid," and work 
on determinedly until the difficulty is mastered. 

In studying the dual art, the beginner is apt to hammer the words 
to the accompaniment, or the accompaniment to the words, and it seems 
at first impossible to arrive at that perfect blending of voice and music 
which is essential to this kind of performance. Another extremely 
common fault is to emphasize the wrong word or the wrong note, with 
the result that the achievement becomes meaningless. 

The ear should be trained to the role oi an exacting critic, and when 
this power is developed it will demonstrate faithfully wherein the failure 
of co-operation lies. 

Music should never be suffered to overburden the words of the poem 
or anecdote related. It is usually but a ground-work upon which the 
artist builds, " at most, an undercurrent of answering emotion." The 
instant it flows through the floodgates of restraint it obliterates the 
meaning and the sense of the words as the waters of a burst dam ob- 
literate the natural features of dry land. 

Another serious fault to be found in the rendition of the inexperi- 
enced student is permitting the time of his accompaniment to swing into 
his voice. Against this he must be severely on his guard, or he will 
develop a wearisome habit of chanting in monotone. 

While taking pains to blend his voice with his accompaniment, he 
must take equal care to keep both distinct and apart. This sounds para- 
doxical, but practice and self-criticism will prove that both are true 
and possible. 

Music and Words 

The speaker should learn to harmonize his music so exquisitely with 
his words that to the uninitiated the accompaniment seems rather ex- 
tempore improvising than the result of toil and diligence. As a 
matter of fact, it is extremely rare that even the greatest artists dare 



90 HOME FUN 

trust to the inspiration of the moment to provide them with adequate 
accompaniment. 

An artist may have a theme or motif borrowed from some com- 
poser, and he may be sufficiently gifted to plan it out and develop it 
for himself, but always with careful thought and deliberation before 
he gives it public expression. 

The dual art is as full of vagaries and traps as the French language, 
and at first the student who finds himself handicapped by inability to 
conquer it, cannot do better than study some poems written to music, 
and at these he must work steadily before he attempts to patter to accom- 
paniment. 

A few musical poems mastered will go far to secure him an air of 
ease and self-possession. 

For instance, undertake some such study as Racine's tragedy of 
" Athalie," which has been so exquisitely set to music by Mendelssohn. 
In the opening bar of " Allegro Moderate, " a few notes are played 
to introduce the passage, "Where do those women and their children 
go? " Then there are a few more notes, followed by the words, " The 
Lord hath laid the queen of cities low." 

The four succeeding bars are treated in the same way. The music 
ceases while " Her priests are captives " is recited. Then a chord is 
struck, and the voice goes on unaccompanied, " Her monarchs are 
rejected." Another chord, " Her godly rites forsaken, unprotected." 
The sixth bar opens with a chord, and is followed by the words, 
" Down, temple ! Cedars, down ! " and terminates with four semi- 
quavers. 

This is an intensely dramatic poem, written in rhymed Alexandrines, 
and the student must take great care not to rend the words from the 
accompaniment, or the accompaniment from the words. The short 
phrases and detached chords must punctuate and emphasize the sen- 
tences, and lend weight and finish to the whole. This is not a difficult 
task when compared with such a study as " The Dream of Jubal," in 
which the music accompanies the words in strict time, the combination 
of voice and pianoforte flowing smoothly, the components dependent 
and yet never waiting for each other. 

The only way to reach perfection is to study the poem and music 
separately at first, until the student is fairly familiar with both. Then 
continue them with the aid of a metronome until the technicalities of 
the mechanism, which include correct emphasis, pauses, and rhythm, and 
the proper flow of the phrases, are mastered. 

When this has been frequently rehearsed, the student may try his 
powers without the metronome, and gradually, but surely, he will master 
the antagonistic forces arrayed against him. 



POSSIBILITIES OF THE MUSICAL SKETCH 91 

The artist who possesses a natural gift of composition will find it 
extremely useful, for there are many exquisite poems which, although 
seeming to clamor for a musical accompaniment, have not yet 
been touched; but this combination is fraught with perils, and those 
who approach it must be for 
ever wary of the grotesque and 
unfit. 

In burlesque, of course, the 
artist has great license in the 
matter of accompaniment. He 
may exaggerate and slash his 
pianoforte (taking care never to 
drown his voice), and achieve 
the absolutely absurd and ludi- 
crous, but, in the poems or patter 
that need delicacy, lightness of 
touch, melancholy cadences or 
bubbling, merry notes, he can- 
not be too careful in the theme 
he chooses to aid and color his 
portrayal. In such pieces, the 
right attitude, the right gesture, 
the right expression must be 
studied and gripped, so as to add 
their subtle beauty to the whole. 
The accompanying sketch shows 
the correct attitude at the piano, 

or rather, the attitude generally adopted by the professional musical- 
sketch artist. The body is turned " three-quarters " to the audience, 
the head full-faced, the left foot working the pedals, while the right 
usually follows the direction in which the performer is looking. 




Correct attitude at piano. 



CHAPTER XI 

VAMPING SIMPLIFIED 

An Accompanist in an Hour 

Whilst " vamping," or the improvising of a musical accompaniment, 
is considered by many anything but a classical accomplishment, yet 
those who can accompany in this way are a decided help to a general 
or children's party. 

In either case among the guests will be found some who possess 
the gift of song, either comic or sentimental, but who lack the power 
or the ability to play their own accompaniments. 




C— 

*F QA 
KBYC 



■i 



©LEFTHAHD 



• RIGHT HAND 



Fig. i. — First chord. 

Moreover, it may happen that the services of a skilled pianist are 
not available, and in these circumstances any one who can vamp will 
be deemed a useful acquisition. 

The object of this chapter is not to give either intricate or compre- 
hensive instruction, but rather to suggest, even to those who have had 
no musical training, a few rules whereby they will be enabled to step 
into the breach occasioned by the absence of an accomplished player. 

An ordinary piano has fifty notes, comprising A, B, C, D, E, F, G, 
in succeeding order. 

The whole keyboard is divided into two portions — treble and bass, 
the former starting from the fourth C up from the left; the notes below 
the fourth or middle C comprise the bass. (See Fig. i. Arrow denotes 
middle C.) 

Each black note above a white is its sharp, and each below its flat. 
For example, taking the treble note G, the black note above it is G 
sharp, the one below it G flat. 

92 



VAMPING SIMPLIFIED 



93 



Before starting to vamp to a song, the singer must hum over a 
line or so of the song in order that the " vampist " may keep both the 
time and tone in his mind for transference to the piano. 

His ear will tell him when he has struck a few chords whether they 
are in the key in which the song is written. If he finds that when a 



\mmm 



i 



Fig. 2. — Second chord. 

few bars of the song completing a distinct or rhythmical period have 
been hummed the note finished on is C, then he will know that the key 
is C, and find his chords as suggested by the diagrams given. 



Vamping Chords and their Relative Changes 

There are three principal chords in a key which are sufficient to 
cover the range of melody. Starting in C, the first chord for the right 
hand from the little finger to the thumb is made up of the notes middle 



HMMi 



4 



Fig. 3. — Third chord. 



C, bass G, and bass E. The left hand strikes the octave C immediately 
below the right hand thumb on E. (Fig. 1.) 

The second chord starts from little finger of right hand on F, first 
finger on C, and thumb on A in bass, the octave F, below the right hand 
A, being struck in the bass. (Fig. 2.) 

The third chord starts with little finger of right hand on G, third 
finger on F, and thumb on B in bass, the left hand striking the 
octave G below the B on which thumb of right hand is placed. 
(Fig. 3-) 



94 



HOME FUN 



To complete the melody it is necessary to go back to the chord 
started with, taking it up an octave or eight notes higher in both 
hands. 



m— 



♦ 



Fig, 4. — First chord of relative change. 

The relative changes are brought about by the use of the follow- 
ing chords. Striking the F sharp with the little finger of right hand, 
the first finger is placed on the D, and the thumb upon middle 



■MM 



Fig. 5. — Second relative change. 

C, the left hand taking the octave F sharp immediately below middle C. 

(Fig- 4-) 

The second change starts with little finger of right hand on G, first 



MMEm 



+ 



Fig. 6. — Another change. 

finger on D, and thumb on B below middle C, the octave G in left hand 
completing the chord. (Fig. 5.) 

Another change is produced by the use of the next two chords. 



VAMPING SIMPLIFIED 95 

Striking G sharp with the little finger of the right hand, the first 
finger strikes E, and the thumb D; the octave G sharp being struck 
in the bass by the left hand. (Fig. 6.) 



a— 



Fig. 7. — Twin chord to that described in Fig. 6. 

The twin chord to the one just described is made by placing the 
right hand little finger on A, the first finger on E, and the thumb on 
middle C; the octave A, immediately below middle C, being struck by 
the left hand. (Fig. 7.) 



-fffl— 



t 



Fig. 8. — First chord of third change. 

The final change necessary is produced by the two following 
chords. 

The little finger of the right hand is placed on C sharp, first finger 
on A, and the thumb on G, both the latter notes being bass — that is, 



mmm 




Fig. 9. — Final chord. 

below middle C. The left hand strikes the octave C sharp in the bass. 
(Fig. 8.) 

The last chord is made by striking D above middle C with the little 



96 HOME FUN 

finger of the right hand, A below middle C with the first finger, and 
F also below middle C with the right hand thumb; the left hand takes 
the octave D in the bass. (Fig. 9.) 

By a study of the chords set forth above it is seen that the octave 
struck by the left hand in every case is a lower tone of the note played 
by the little finger of the right hand — viz., if the little finger of the 
right hand strikes G in the treble, the octave G is played by the left 
hand in the bass. 

An effective ending to a vamping accompaniment is brought about 
by the use of a " run." Starting from the C in the bass below the 



mini mil 

m 9 • • \® 9 

I 1*1 1 1 I I 2 1 I I x J 111 I 2 I 




" " t 

Fig. 10. — Showing the " run " on piano embracing three chords. 

middle C (indicated by arrow on diagram), and playing the E and G 
with first and second fingers, the thumb is taken under, on to the 
middle C and the action repeated twice, the run finishing on the fourth 
C in the treble. (Fig. 10.) 

It is useful and interesting to bear in mind that any chord can be 
made by placing the little finger on a note desired, missing the next 
two covered by the second and third fingers, striking the note covered 
by first finger, missing the next, and striking the one covered by the 
thumb. 

Having committed the above chords and " run " to memory, the 
performer can play them to suit the time in which the accompanied song 
is written. 



CHAPTER XII 

AN EVENING AT THE PHONOGRAPH 

A Concert at Home 

To possess a gramophone or phonograph is to be already furnished 
with the means of giving a very successful and pleasurable entertain- 
ment. There are so many " entertainments " that do not entertain, and 
so many " amusements " that do not amuse, that it is a distinct relief 
to know where to turn when a mixed party of guests have honored 
you with their presence. 

With the number of gramophones, phonographs, talking-machines 
and zonophones now on the market, it is not the object of this chapter 
to specialize any particular make or type of article. As in most things, 
quality means expense, and there is little use in hoping for fine results 
from a cheap machine. Any respectable dealer will give useful advice 
as to the type of gramophone worth buying, and it must be left with 
you to make your own choice. 

Presuming you have obtained your machine and accustomed your- 
self to the manipulation of its various parts, the next point to be 
considered is how a successful programme may be carried out for an 
entertainment. 

In nothing, perhaps, is that old adage that " tastes differ " so true 
as in music. One person may shiver with disgust at everything but 
Bach, whilst her neighbor probably can appreciate nothing but old 
ballads; or whereas paterfamilias beats time ecstatically to the familiar 
old pieces of Verdi and Rossini which he remembers from his boy- 
hood, his cultivated son is impatient for something out of " Elektra." 

Now it is the business of the entertainer to satisfy and please all 
these people — to send none away empty, but to make each person feel 
what a pleasant evening he or she has had. Whilst fully recognizing 
the difficulty of producing this result, it is hoped that the following 
hints may serve to render the construction of a catholic programme a 
little easier than would at first appear. 

Records are of two kinds — instrumental and vocal. By blending 
these successfully a very charming variety can be obtained which will 
materially assist in keeping the programme from lapsing into sameness. 

97 



98 HOME FUN 

Commence with a stirring overture or a rousing march that will 
set the feet of your audience itching to mark time. Avoid anything 
dreamy or languorous; let their attention be attracted by a bold stroke, 
by the rattle of drums and the blaring of cornets and trombones. 
Sousa's marches, the " Stars and Stripes " for instance, are admirable 
pieces to start the evening with, arousing the attention and stirring the 
blood of every healthy person in the room. 

Having now excited the interest of your audience, give them some 
vocal music. Choose a good quartette of well-known singers in a 
selection or song from some up-to-date opera, or even from one of the 
old Italian favorites. "The Barber of Seville," " La Boheme," or "La 
Tosca," all provide very fine quartettes. 

The next piece might be a good instrumental solo, on violin, 'cello, 
piccolo or clarionet. Let it be short and characteristic; preferably a 
piece fairly well known to the majority of your audience. 

At this point it may be remarked that people invariably like hear- 
ing what they already know. The gramophone is more generally appre- 
ciated when it reproduces a song or piece of music that the audience 
has heard before ; whilst the machine is scarcely suitable for the intro- 
duction of wholly new music. Of course it is impossible to form an 
entire programme on these lines, but when making the selection of 
records, if you bear this fact in mind it will save you from obtaining 
a number of outlandish pieces, if one may so style them, which the 
majority of your company has never heard before and will be little 
likely to wish to hear again. 

After the instrumental solo, it will be suitable to have a vocal solo — 
say a soprano. Again, select a good artist and a good song, for it 
is at this point that your fiercest critics will be upon the lookout. Do 
your best to disappoint them of their prey by having none but the best 
singers; and only then at their very best! 

Humorous Songs 

With a mixed company humorous songs are usually appreciated, 
and one may be very well introduced at this point. The greatest care 
must be exercised in avoiding anything that the most squeamish person 
might think objectionable. The number of perfectly harmless and re- 
fined comic songs is great, but unfortunately the number of vulgar songs 
is greater. Accept nothing, therefore, that you have not heard yourself 
and know to be perfectly suitable. 

A good piano solo may now be very serviceable, or even a piano 
and violin duet. A piece of Chopin or Schumann, a short piece of 
Godard, or the like, is sure to be appreciated. The most carping of 



AN EVENING AT THE PHONOGRAPH 99 

critics will be unable to find fault with the execution of Paderewski, 
Hoffman, or other great pianists, all of whose records are easily obtain- 
able. 

A popular item from one of the current operas or musical comedies 
will then be acceptable. If the works of Sullivan are too antiquated, 
records of the more recent pieces recently running at the theaters can 
easily be had. " Our Miss Gibbs," " The Dollar Princess," or the 
" Arcadians " — all will help to furnish you with some variety in the 
programme. Choose a favorite that will bring up pleasant recollections 
to all who have seen the original play. 

A tenor and bass duet may follow the above admirably, something 
rather pathetic — a love song or the like. The task of making a choice 
amongst so many songs of this class would be invidious, and it is left 
to the taste and opportunities of the entertainer to select what seems 
best for the occasion. 

It is now time for another piece of orchestral music, and a good 
waltz is suggested — " The Merry Widow," or something of that kind, 
played by a good band, and of a rather catchy nature. 

If you divide the entertainment into two parts, the familiar inter- 
mezzo of the " Cavalleria Rusticana " makes a very suitable overture 
for the second part. Obtain it on a good orchestra, and not as a piano 
or violin solo. Failing this any of Puccini's overtures are good for 
such an occasion. 

The second part of the programme should be constructed on very 
much the same principles as the first. A few classical pieces can be 
introduced — Wagner and Grieg, Schubert and Elgar, and similar 
contrasts. 

Tenor, bass, soprano and contralto solos should be fitted in between 
the heavier items, whilst instrumental solos are generally highly appre- 
ciated amongst really musical audiences. Do not let the selections be too 
long, however. 

Before closing the entertainment with " The Star Spangled Banner," 
have a good orchestral waltz to put every one in good humor. 

General Arrangements 

And now for a few hints as to the actual performance. Do not 
be too ready to give encores. Many people really dislike to hear a 
thing twice, and unless you see there is a very general desire amongst 
your audience for a repetition, pass on to the next item immediately. 

Have the seats comfortably arranged, and see that every one is 
seated before beginning your programme. Copies of the programme 
should be handed to each person present, and the name and number 



ioo HOME FUN 

announced before starting the machine. Be careful that no hitch occurs 
in the arrangements. 

Remember that the greatest of artists can be called to your assist- 
ance — Caruso, Melba, Patti, Albani, Tamagno (who though dead yet 
sings), Constantino, Tetrazzini, and numberless other great singers and 
musicians are at your beck and call, ready to sing to your friends or 
to exert their greatest talents on your behalf. Avail yourselves of them 
unsparingly, and you cannot miss success. 

A Sunday programme is no more difficult to arrange. Magnificent 
records of the " Messiah," " Elijah," and many other great oratorios 
can be obtained, whilst numberless hymns and anthems are possible 
to the gramophone, sung by some of the finest choirs. 

With these hints there should be no great difficulty in making a 
programme that will prove enjoyable to a mixed audience. They are, 
however, but hints; to give exact instructions would be impossible. 
The selection, even upon the lines sketched out in this chapter, must 
be individual and adapted to the more immediate requirements of your 
company, and in consequence no fixed rule for choice can be given. 



CHAPTER XIII 

MUSICAL GLASSES 

A Great Inventor's Hopes 

A hundred and fifty years ago the fashionable society of London 
went mad over musical glasses. When the cloth had been removed 
and the company were seated at the polished table, discussing the 
dessert and enjoying the rare old port, it was considered a great 
attainment, after having partially filled the finger-bowls, to be able 
to extract music by casually rubbing a finger around their rims. 

Strange as it may seem, even the great composer Gluck did 
not consider this musical trick beneath his genius, and used to 
pride himself upon the skill he had acquired in this kind of per- 
formance. 

Mozart composed a song to be played in this manner, and many 
famous musicians devoted their energies to perfecting a branch of the 
science which they considered to be full of promise. 

Even Benjamin Franklin turned his genius to the subject, 
and after many experiments succeeded in inventing an apparatus 
called a Harmonica, which he hoped would take its place amongst the 
recognized musical instruments of his day. From various causes, 
which shall be explained later, this invention was never attended with 
the success its author anticipated. 

Considerable knack is required to obtain a clear note from a glass. 
A fine finger-bowl, preferably uncut, or a champagne glass, must 
be partly filled with water, and the performer should then damp his 
forefinger and also wet the rim of the glass. If the finger now be 
passed lightly but firmly round a portion of the rim, after a few 
touches a clear ringing sound will be produced. If at first this is 
difficult to obtain, pass the finger several times in one direction — e.g. 
from right to left, and then reverse from left to right. Having done 
this for a few seconds, the glass will, in all probability, begin to 
sound. 

As has been said, quite a knack is requisite to perform this with 
any success, but the beginner should not be discouraged if failure 
attends the first few attempts, as, after a little practice, which seems 

IOI 



102 HOME FUN 

to produce nothing but a sad groaning noise, the glass will suddenly 
begin to ring. Having devoted a little patience to learning the exact 
touch, the performer will find that the slightest movement of his finger 
produces the desired note. 

Little Water = Low Note 

The note given out depends entirely upon the amount of liquid in 
the glass. The less water the lower will be the note; the more water 
the higher it will be. Therefore taking eight glasses, or fine finger- 
bowls, and filling each one to a different level with water, a complete 
octave can be obtained. 

The amount of water to be placed in each depends entirely upon 
the size of the bowl and the texture of the glass, and must therefore 
be determined by the performer himself. A keen ear will soon 
enable him to get the glasses thoroughly in tune, and they can then 
be arranged before him in the order of the notes in the scale. 

For those who desire to. attain proficiency in this art, it would be 
well to color the water distinctively in each glass, in a manner 
similar to the following : 

1. C . . . . clear 5. G . . . . green 

2. D . . . . red 6. A . . . . purple 

3. E . . . . blue 7. B . . . . orange 

4. F . . . . yellow 8. C . . . . black 

(See Fig. 1.) 

By this arrangement the performer can tell at a glance which glass he 
must touch to obtain the note required. This is more especially 
applicable to beginners, for, after some practice, the relative positions 
of the glasses become fixed in the mind, and he knows instinctively 
where to turn for whichever note is wanted. 

Half-Notes 

Half -notes can be made by adjusting the amount of water, which 
can be colored accordingly; but for an ordinary entertainment the 
octave will be found quite sufficient, and at anyrate to begin with, 
will require all the musician's attention. When he can play quickly 
and correctly with his first eight glasses, he can introduce half-notes, 
but it is very unwise to start with too many vessels, for it will give 
both him and his audience far greater satisfaction to hear eight glasses 
played well than to hear a larger number played indifferently. 

An important point to remember is to keep the finger and the rim 



MUSICAL GLASSES 103 

thoroughly wet. If this be borne in mind, the notes will come much 
more easily and clearly, whilst the disagreeable droning sound will 
entirely disappear. Care must also be taken to see that the glasses are 
steady on their bases, as, in the case of champagne glasses, especially, 
they are liable to tip up under the pressure of the finger. 

With regard to the music suitable to musical glasses, it has already 
been mentioned that Gluck and Mozart composed songs for this class 



^ 









^7 



Fig. 1. — Showing finger-bowls containing various colored waters at different levels, 
each level indicating a different note. 



of performance, but the beginner is not recommended to attempt 
these until he is very skillful. As some time will elapse before 
he can play even the scale with ease, perfectly simple music should 
be all that he tries to learn at first. When such easy, although 
somewhat hackneyed, pieces as " The Blue Bells of Scotland " and 
" Annie Laurie " have been mastered, he can try more advanced 
works. 

Many attempts have been made to discover some means of 
producing the sound other than by rubbing the finger over the rim 
of the glass. Violin bows and other similar contrivances have all 
proved ineffectual. 

It would seem that the texture and surface of the human skin are 
alone suitable for this purpose, and nothing else has proved success- 
ful. This is the reason why musical glasses have not become more 
common, for the continual rubbing of the wet finger over the sur- 
face of the glass becomes after a time somewhat unpleasant. How- 
ever, this hardly applies to the short period that an ordinary 
performer would devote to an entertainment. Yet such was the 
reason that caused the failure of Franklin's instrument. 

The following few bars of music, being the opening phrases of a 



104 HOME FUN 

well-known song, will prove very suitable for glass music, especially 
when played at the dinner-table after the dessert has been discussed. 
To simplify the matter for those who are not familiar with the usual 
notation of music, the notes are given by name, thus enabling any one 
to pick them out with ease : 

E, E, E, F, F, G, F, E, D, E, F, G, C, F, E, D, C 



CHAPTER XIV 

HAND-BELL RINGING 

A Sweet-lipped Friend 

There is something vital in the ordinary bell that dominates all of us. 
It is an important factor in our lives. The railway bell's clamor 
reminds us that haste is needed to catch the departing train. The 
dinner bell tells that the meal is ready for our consumption. The 
church bell, the wedding chime, the fire bell, the tolling funeral bell, 
are all our faithful monitors and guardians, but the exquisite voice of 
the hand-bell is the sweet-lipped friend that wooes us in our hour 
of ease. 

Hand-bell ringing is full of charm and interest, and it is astonishing 
of what changing harmonies these instruments are capable when 
manipulated by dexterous hands. Undertaken with perseverance and 
patience to overcome its rudimentary difficulties, this form of campa- 
nology may be achieved with great success. 

The first thing to do is to go to a well-known firm to secure the 
necessary bells, which must be perfectly in tune. The beginner needs 
only a few, as for some time he must essay only the simplest tunes. 
The best hand-bells are somewhat expensive, but to buy cheap inferior 
instruments is false economy and most unsatisfactory, for sonorous- 
ness and sweetness of tone depend upon purity of metal and perfect 
balance. 

Those known as the " four-in-hand " consist of four hand-bells 
attached by means of a leather handle to one base. This enables the 
player to manipulate eight bells at once. Of course, by making careful 
inquiries, or by advertising, good second-hand sets of bells can be bought 
quite cheaply. 

It is advisable that the bells be tuned to old Philharmonic pitch, 
C — 540, and they should be fitted with improved pegged clappers. 

The first step undertaken by the novice at bell-ringing is to consider 
and study the construction of the bell. It is surmounted by a loop of 
leather, and the hinge of the clapper is so made that it can sound 
only when swayed towards the flat part of the handle. The part of 
the clapper that touches the* bell is composed of felt and not of metal, 

105 



io6 HOME FUN 

but this alone is too light a material for the springs, which, it has been 
discovered, resist it. 

To overcome this difficulty it is necessary that the felt should be 
weighted. This achievement needs skill and experience, for the springs 
and weight naturally vary according to the size of the bell, and are in 
exact proportion, small springs being necessary for the small bells and 
large springs for the large ones. 



Bell-ringing Companies 

Bell-ringing companies consist of five players, and these are gener- 
ally composed of two ladies and three gentlemen; all should be 
physically strong and possessed of the sense of strict notation and 
music-reading ability. The ladies generally undertake the alto and 
tenor parts. The strongest player manages the bass bells, and the 
most reliable and cool-headed of the party the treble, which is divided 
into first and second, and is extremely important, needing no small 
amount of agility and nerve, especially in difficult and intricate 
passages. 

There are many reasons why five players are advisable. Four 
could not manage the full harmonies of treble, alto, tenor, and bass, 
while more than five are apt to get in each other's way, besides taking 
up too much space on a small platform in a drawing-room. 

A long table, covered with some heavy material, such as thick 
baize or half-a-dozen pairs of good blankets, is essential. Blankets are 
the best. They should not be spread out or divided, but folded upon 
the surface, and then concealed by a cloth. This keeps the sound from 
vibrating through the wood of the table, as the bells are placed upon 
it, at the termination of each note. 

The bells must be in easy reach of the ringer, and the company 
just formed will do well to chalk lines upon the cloth to divide their 
positions from that occupied by the neighbor's bells. 

Tenor and alto players should occupy the center of the table. 
Their work, compared with that of bass and treble, is light and sub- 
ordinate, and this is why those parts may be undertaken by ladies. 
The second treble stands at the right end, next to the alto, and the first 
treble and bass occupy the head and bottom of the table, as shown in 
Fig. t. 

Immediately after the bell is used the player must be careful to 
replace it in its former position in the chalked space, or confusion and 
discord will be the result, as it is almost impossible to remember the 



HANDBELL RINGING 



107 

To pick 



position of the bells unless this plan is strictly adhered to. 
up the wrong bell will lead to disaster. 

Many plans have been tried in which to place the bells so that 
each player may identify the different bells to be used. Perhaps the 



Audience. 



Player 
o 



Bass 
bells. 


The Table. 
Bells not in use. 


First 

treble 

bells. 


Tenor bells. 


Alto bells. 


Second 

treble 

bells. 



Player o Player o 

Fig. 1. 



Player o 



Player 
o 



simplest and most usually adopted is to arrange them in rows upon the 
table. Supposing the number of bells required to be fifteen, place 
them in three lines of five. For the first row employ the letters of the 
alphabet; for the second, even rows of figures; for the last, single 
odd figures, thus: — 



A 


B 


C 


D 


E 

















2 


4 


6 


8 


10 

















1 


3 


5 


7 


9 


















Fig. 2. 



This plan should be learnt, and the position of the bells be as fixed 
and relative to each other as the notes of the keyboard of the pianoforte. 
At first the players stand with the left side turned slightly to the table, 
but frequently they will be obliged to change their positions, sometimes 
turning to the right and sometimes facing the table. The bell should 
never be placed with the flat side of its handle towards the manipulator, 
for in this position it cannot be struck, however much waved. 



io8 



HOME FUN 



In holding the bell, the thumb must be pressed on the rivet, the 
fingers gripping the flat side of the handle. When lifting the bell, 
the handle should slope towards the body, thus forcing the weight 
of the clapper to swing to the side opposite to that upon which the 
strike sounds. The bell, being lifted in this position, is not struck, the 
hand changing its inclination from left to right. In so doing, the bell 
is turned to an opposite angle, the clapper falls, and the strike is 
achieved by a slight impetus of the arm or wrist. 

The student should practice lifting and striking the bell with 
alternate hands, until it is as easy to manage it with the left hand as 
the right. When he has mastered this difficulty he may try the 
working of two bells — one in- each hand, lifting one bell while the 
other is struck, taking care, however, always to place them in such a 
position that no turning or twisting of the handle is necessary before 
action, as this involves loss of time, and makes him liable to constant 
blunders when he takes part in a tune. 

The length of the table varies according to the number of bells 
required and the style of music undertaken. Forty-four bells are 
sufficient for most simple melodies and exercises, and for them the 
space required is about u feet by 5 feet. 



" Flourishing " 

" Flourishing " the bells is impossible in quick music, and is only 
undertaken in slow passages, when the notes are to be sustained. In 
working the bells alternately, the dying vibration of one bell must never 
be allowed to mingle with the next, for this is even more discordant 
than when, in pianoforte playing, a pedal is kept down too long, and 
makes the vibration of one chord jar into the next. 

To prevent this, the vibrating bell should be placed on the table 
immediately before the other is about to be struck, but not in such a 
manner as to rob the note of its proper value. In a staccato passage, 
on the contrary, the bells should be set quickly on the table as soon as 
they have sounded. 

In practicing the ringing of alternate bells, make each vibration the 
value of a semibreve, then a minim, and lastly a crotchet, until perfect 
dexterity is achieved, thus : — 



(0 



R. 



R. 



(2) 

L. R. 



ZZ2I 



221 



a g*>~ cj. ^2 — : 



(3) 
R. L. R. L. 


f "■(*—(* — f^- ■ 



HANDBELL RINGING 109 

When the trebles are divided, the first treble plays the notes turned 
upwards, and the second treble the downward tailed — thus, in the scale 
of C :— 



ut Treble. 



2nd Treble. 



-gbg y j r iH 



g^gE g f j-f=f=^ 



1st Treble 



2nd Treble, 



The notes should follow without any break as continuously and 
smoothly as though one player were ringing the scale. 

Ringing two bells in each hand is difficult of accomplishment. In 
order to do this successfully, one bell is lifted and gripped in the right 
hand by the first and second fingers and struck downward. Then 
another bell is inserted between the thumb and first finger, the flat part 
of the handles at right angles. The first bell is again struck down, 
when it will be discovered that the second bell remains silent until it is 
slightly turned from left to right by a quick wrist movement, while in 
its turn the first bell gives no sound, simply because it needs a down- 
ward stroke, and the side stroke, which gives voice to the second bell, 
is in a contrary direction. 

Extreme care and perseverance are necessary before these two bells 
can be properly manipulated, and a great number of exercises which 
the student can construct for himself should be practiced. 

Chromatic notes present great difficulty, especially in more advanced 
music, and can only be mastered gradually. In simpler passages, 
when they occur, the student should place the chromatic bells in the 
back row in the order in which they are to be used. If his chromatics 
are arranged (1), (2), (3), (4), (5), and he has memorized their 
position beforehand, he will have no difficulty in finding them as they 
are required. 

A company of bell-ringers should have a large repertoire of music 
of as much variety as possible. Many of the pieces which are most 
suitable are somewhat hackneyed, and yet are cordially welcomed 
when musically treated, and other works can always be arranged for 
playing. 

Tone, expression, and phrasing are all-important. The rhythm of 
sounds must not alter with the changing of the bells. It must con- 
tinue in a sweet flow of music, just as if one hand were manipulating 
every bell. The jerk, the overlong pause, or the lack of tone in one 
player's work, has power to mar the whole performance. 



no HOME FUN 

In large orchestras constant playing together is necessary for proper 
union and harmonizing of sounds, and this is equally essential in bell- 
ringing. It must ever be remembered that " practice makes perfect/' 
and the blending of the bells needs unending patience and persistence. 

For beginners such pieces as " The Minstrel Boy," " She Wore a 
Wreath of Roses," "Home, Sweet Home," "The Last Rose of Sum- 
mer," and the National Anthem prove stepping-stones to enterprises 
of a more complicated nature, and should be carefully studied, for 
" vaulting ambition " is quite out of the question in the art of hand- 
bell ringing. 




CHAPTER XV 
THE ART OF DRAWING-ROOM SINGING 

Correct Breathing and Voice Production 

One of the most delightful sounds in the drawing-room is the music of 
the human voice, uplifted in song to a soft pianoforte accompaniment, 
if, of course, the voice be tuneful, easily produced, and sympathetic, 
and the breathing taken without effort. 

The first steps to be considered in singing are ( i ) correct breath- 
ing, (2) voice production, (3) clear pronunciation. The tongue should 
be hollowed behind the teeth, not rolled up in a 
ball, thus closing the vocalist's throat. The uvula, 
so called because of its supposed likeness to a 
grape, should be lifted to the roof of the soft 
palate, the mouth presenting a hollow open chamber, 
through which the notes issue in clear, bell-like tones 
(Fig. 1). 

The beginner will find this a difficult matter, and A Hard palate 
effort and will are needed to keep the tongue down B. Soft 
and the uvula up. The position of the former may E ' Ton°-ue 
be demonstrated by means of the handle of a tea- 
spoon pressed against it. The tongue will prove rebellious until 
practice makes it perfectly easy and natural to subdue it in the neces- 
sary manner. 

In breathing, inhale a long slow breath through the nose only, 
keeping the mouth closed. The air should originate in the upper part 
of the diaphragm, and be held until the ribs are slowly inflated, 
balloon fashion, when it should be exhaled through the open mouth, 
gently and without effort until the ribs contract. Never push the ribs 
to lengthen the expiration of breath. 

A good plan to insure easy and quiet breathing is to count slowly 
to ten while the chest box is being inflated, and also when the 
air is being exhaled. In this manner the breath will be prevented 
from coming and going in spasmodic gasps and jerks. The number 
ten may be increased gradually to twenty or thirty, until the student is 
able to produce breath sufficient for the phrase vocalized. Regular 



ii2 HOME FUN 

breathing exercises should be taken every day before singing, the hands 

being placed upon the ribs, in order to feel and insure their gradual 

rise and fall. 

An anatomical study of the throat, windpipe, and lungs should be 

made (Fig. 2), and this will considerably help the student to under- 
stand the difficult mechanism of voice 
production. 

Practice gradually adds new notes to 
the voice, but the young singer must be 
careful not to strain the vocal organs by 
endeavoring to sing high and low notes 
before they are naturally developed. 

Concones and every variety of singing 
exercises should be practiced before a song 
is undertaken. Over-practice is harmful. 
Vocal organs should never be fatigued or 
unduly taxed, and half-an-hour's practice 

is ample — indeed, more valuable than an hour at a stretch. 

Singing directly after meals should be avoided, and the throat must 

not be coddled in furs or compressed by high collars. 




Fig. 2. — Throat, windpipe, 
and lungs. 



Dainty Modern Songs 



In drawing-room singing, four or five-versed lyrics are not nearly 
so charming as the dainty modern songs of two or three verses, and 
these must never be undertaken until the student has reached a proper 
understanding of phrasing, breathing, and expression. 

Many singers prefer to accompany themselves, but this has its 
disadvantages, as the voice is far better produced when the vocalist 
is standing. The position should be easy and natural, the head erect, 
but not lifted back, as this contracts and narrows the larynx. 

While the singer should enter into the idea of the composer, she 
should have her own conception of the song, and endeavor to give it, 
as far as possible, her own individual expression, her voice being 
colored by the cultivation of her soul; otherwise the most perfect 
vocalization will fail to move the audience. 

These elementary rules hold good for the male as well as the 
female singer, and cannot be too carefully considered. 

A further important factor in the art of singing is the hygiene of 
the human body. The singer must cherish physical health. Plenty 
of outdoor exercise should be taken. Indulgence in drinking and 
over-eating is injurious. To practice when fatigued, or indisposed, 



THE ART OF DRAWING-ROOM SINGING 113 

is to risk permanent harm to the voice; and to sing when suffering 
from a cold is extremely foolish. At such times, breathing exercises 
may be taken with advantage, as they clear the lungs and help towards 
recovery. 

Lady singers are sometimes inclined to wear gowns which do not 
allow them sufficient room for breathing purposes, and they will 
often willfully sacrifice the well-being of their voices to be fashion- 
ably attired. In order to perform their functions properly, the lungs 
and ribs must have space and freedom from pressure. Too narrow 
bodices are almost as pernicious to the voice as tight lacing, for these 
seriously retard the breathing, and what in loose garments is natural 
and easy of accomplishment, becomes an obvious struggle, which 
fatigues the singer and renders her voice thin and poor in quality. 
This is often the reason why a vocalist is seen to lift her shoulders 
and pant audibly during her song, thus marring her conception, which 
may be, in every other particular, delightful and artistic. 

Many singers with weak lungs find voice production extremely 
beneficial, for proper breathing and careful practice do more to strengthen 
a delicate chest than any bottled remedies. 

The vocalist should never stoop (for this narrows and compresses 
the vocal organs), and in singing the first care should be to see that 
the shoulders are well thrown back, although not strained to an un- 
natural position. 

In practicing, it is beneficial to keep the arms folded behind the 
back, placing the hands over the elbows, and taking care not to 
thrust the head forward. This will keep the chest expanded, and 
the body easily upright. 

The Value of a Good Accompanist 

When performing, it is necessary to be equipped with a good 
accompanist — one who understands the art thoroughly, and refrains 
from banging out the notes as if the voice of the singer were merely 
the background to his own performance. The three qualities essential 
in an accompanist are sympathy, artistic sensibility, and discernment 
to understand the temperament and conception of the vocalist. 

An inefficient accompanist has power to transform an artist's 
highest and most conscientious endeavor into irritability and inability 
to render individual expression. Pianists frequently are highly re- 
commended to singers because of their gift of sight reading. Now 
this is a very valuable and important accessory, but there are many 
excellent sight readers who have no idea of that delicate and tactful 
manipulation of accompaniment found in the true artist, and who, 



ii4 HOME FUN 

even though they play correctly the most difficult music placed before 
them, sadly fail because of inadequate comprehension of the needs 
vital to the singer. 

To hustle the singer is almost as heinous a fault as to lag behind. 
Some accompanists convey the fatiguing impression of a brake applied 
to a carriage wheel, and the artist feels as if she were pulling the pianist 
through the song, while others play as if they were racing to catch a 
train, and there is not a moment to lose. Both these defects are 
equally fatal. The pianist on these occasions should neither be in- 
dependent nor dependent. She or he must realize that, although the 
pianoforte is subordinate, it is extremely important because of its 
power to influence the mind and conception of the singer, who should 
feel an electric tide of sympathy and support flowing from the piano- 
forte and carrying the voice on a wave of sound. 

An accompanist should be chosen with care, rehearsed with fre- 
quently, and must possess individual qualities in common with the 
temperament of the singer. A sense of reliability and strength conveyed 
will do much to put the most nervous vocalist at ease, and give that 
tranquility and self-possession without which no singing is successful. 

Rehearsing before a mirror is of great assistance, for it is only in 
studying the reflection of one's features when singing that one is able 
to check nervous mannerisms and facial contortions. Pains must be 
taken to open the lips adequately wide, for the mouth is the mold; 
the voice, the molten gold; and, if the mold is twisted or narrowed, 
the gold will be warped and flawed in quality. 

The simpler the manner of the singer the sweeter the song, for 
the affectation sometimes indulged in, the airs and grimaces commonly 
known as " side," which some singers see fit to employ, are as unsightly 
as a mud-splashed window-pane. They are often also the insignia of 
the incompetent and the ignorant, for it is never the true artist who 
thus obtrudes herself on her hearers. 

Of course, in some cases apparent affectation really originates in 
extreme nervousness and hyper self -consciousness. In such cases the 
singer must battle patiently with this embarrassing trait until it is over- 
come, for unless this is accomplished one's singing can never be a 
joy and delight. 

In order to be successful, a song must be delivered harmoniously; 
to voice sweet exquisite words accompanied by facial contortions is 
to make a pitiful caricature of your performance. 

Take care, therefore, that your attitude, features, and expression 
combine to carry the emotion conveyed in your voice. Study unity and 
repose. Endeavor to forget your own identity for the time being, 
considering yourself only as the cage that holds the nightingale. 



THE ART OF DRAWING-ROOM SINGING 115 

Although the singer should be perfect mistress of the songs 
forming her repertoire, she should always deliver them freshly and 
spontaneously. 

There is an old saying, " Familiarity breeds contempt," and, not- 
withstanding the fact that this is usually said of individuals, it may 
be applied very truly to the relationship that exists between singer and 
song. 

Why Singers Often Fail 

It is very usual for an ambitious student to be consumed with 
conscientious determination. She makes up her mind to learn a 
difficult song, and she works assiduously at it day after day, week 
after week, until she knows every word and every note. 

By-and-by she performs it proudly to a select circle of friends, 
and she is surprised and discouraged to find that all her keen 
enthusiasm for the song has gone. It does not seem to suit her 
voice; the words have lost meaning. The emotion she at first poured 
into it has disappeared, and she is thoroughly disheartened, and is 
quite unable to find reason or remedy for her indifference. 

An experienced artist would be able to show that student in a 
moment wherein her failure lay. 

She had allowed herself to become too familiar, and familiarity 
had bred contempt. The song doubtless needed practice, but not 
incessant grinding and toiling. One cannot hammer the arts into 
one's head as if they were nails being driven into wood. The subtle 
essence, the ephemeral spirit of the song will still evade the singer. 
To catch that, and to reveal it to others, the work must be as pure as 
the widespread petals of a flower. 

So, when listlessness replaces your high enthusiasm for a song with 
which you have become too familiar, do not be disheartened, but put 
it away, and determine not to touch it or hear it sung until your first 
eagerness to master it is reborn. Then, and then only, take it out 
and sing it, and you will be astonished at the result; for having 
mastered the technicalities you are able to pour your heart into 
your words, and the result amazes you and delights your hearers, 
who think you have never sung anything better or more suitable to 
the pitch and timbre of your voice. 



CHAPTER XVI 

DRAWING-ROOM RECITALS 



The Keynote of Success 

It is frequently and quite erroneously supposed by the uninitiated 
that, given a good memory and a pleasing voice, the young would-be 
elocutionist may become highly successful in the art of reciting. It is 
only the painstaking, experienced 
artist who realizes that these attri- 
butes are but as the husk to the 
nut, the calyx to the bud. 

Cased in its shell is the kernel, 
and folded in its green sheath are 
the petals of the flower. So, like- 
wise, the voice and power of 
memorizing must be but the cover- 
ing of numerous other qualities, 
attained only by perseverance, 
judicious practice, and that artistic 
sense of fitness without which all 
attempts to excel are in vain. 

It is impossible to play a sym- 
phony on the pianoforte before 
grinding away at the rudiments of 
music, and no one may build a 
house without mastering the ele- 
ments of architecture. Yet the 
difficult art of reciting is often 
approached by a novice, who, 
having pounded some poem or 
prose into his or her memory 
Fig. i.— Correct posi- (reciting is usually a feminine 

tion for reciter. ,.- °. N - . ■ ., ... 

qualification) plunges into it with 
all the self-satisfaction of ignorance, and pains or fatigues her listeners 
by her flagrant and unsympathetic rendering of a masterpiece, which, 
in experienced hands, would be an exquisite piece of work, something 
to be remembered and dwelt upon with considerable pleasure. 

116 





Fig. jo. — The stiff, 
unnatural position. 



DRAWING-ROOM RECITALS 



117 



The speaking voice, properly treated, is an instrument of exquisite 
music, capable of as many shades of feeling and power as the pipe 
organ. Before all else the voice must possess sympathy, sweetness, 
power of expression, and naturalness; and, unless these qualities are 
governed by a high sensibility, keen intuition, and common sense, 
they are futile. 

The wing of the voice is the breath. Unless this is elastic, easily 
and naturally produced, the voice is like a crippled bird, or similar to 
a musical instrument with broken strings. Thus the cultivation of 





Fig. 2. — Facial expression. 



Fig. 2a. — Facial contortion. 



voice and breath is the most powerful adjunct to good reciting, and 
this only comes by constant practice. 

In practicing, the reciter should stand in an easy attitude (Fig. 1) 
— erect, but not stiffly upright, and with muscles neither tense nor 
unduly lax, as in Fig. la. " There are no straight lines in Nature." 
This is an invaluable motto for the student. The best method of 
gaining a clear and flexible voice is to read aloud some paragraph 
or verse softly at first, studying the meaning and sound of every 
word spoken, and endeavoring to express its phonetic quality, not 
only with the lip, but with the eyes. A mirror is an excellent help 
(Fig. 2). It will show the beginner the difference between facial ex- 
pression and facial contortion (Fig. 2a). 



The Speaking Register 

The paragraph may be repeated in a gradual crescendo until the 
full power of the voice is used, always taking care to avoid harsh 
and stridulous tones, and not strain or fatigue the throat. When the 
student has accomplished this to her satisfaction, she should allow 
her voice to die gradually away, until it is almost a whisper, but 
her tone must always be clear and round in quality. This method 



1 18 HOME FUN 

will bring many different shades of inflection and feeling into the 
voice, and she will be astonished at the notes she will add to her 
speaking register. 

A good exercise is to make out a list of abstract words, and, con- 
centrating attention upon them, endeavor to convey their full meaning 
with the aid of the mirror. Such sentences as : " I love you dearly," 
" My hate is too deep for words" " My scorn is intense" " My tender 
concern," " My pity," " My contempt," " My indifference," " My desire," 
" My despair," and other impromptu phrases may be spoken in different 
tones, united, with eye and features, to express the qualities voiced. 

The student need not despair because she has a bad or untrained 
memory. The power of memorizing verse or prose only requires 
diligence and concentration to become facile and natural. Exaggera- 
tion, affectation, melodrama, and meaningless gesture should be 
avoided, for there is nothing so appealing as simplicity. 

Before reading a poem aloud, the reciter should master the meaning 
of the story it sets forward. She must remember that she is about 
to paint a picture in words. To do this effectively, she must avoid 
daubing in lurid colors. She will find it helpful to regard her 
mind as her palette, her voice as her brush, and her color tones as 
sympathy, tranquillity, gentleness, optimism, faithfulness, and clearness 
of expression. She should take as much pains' when practicing as 
when performing before others, endeavoring to criticise her mode of 
speech and expression just as though she were listening to some one 
else's recital. 

The following simple rules will prove of great assistance : — 

1. Breathe easily, inflating the lungs slowly, and without effort 

or sound. 

2. Speak distinctly and clearly, and avoid shouting. 

3. Sound the consonants, but do not hiss them. 

4. Sound the syllables distinctly, but without undue emphasis. 

5. Sound the definite article without giving it too much import- 

ance. 

6. Read brightly and naturally. 

7. Avoid monotony : graduate tones by feeling. 

8. Understand clearly and sympathetically what is studied. 

9. Read with earnestness, but without heaviness. 
10. Mind pauses and emphasis. 

Here is an example from " David Copperfield " : 

" Here is our pew in the church. What a high-backed pew ! With 
a window near it, out of which our house can be seen, and is seen 
many times during the morning's service by Peggotty, who likes to 



DRAWING-ROOM RECITALS 119 

make herself as sure as she can that it's not being robbed, or is not in 
flames. But, though Peggotty's eye wanders, she is much offended if 
mine does, and frowns to me, as I stand upon the seat, that I am to 
look at the clergyman." 

In this passage the reciter is for the time being a little boy endeavor- 
ing to sit quietly in church and fix his eyes on the clergyman. She 
must be simplicity itself in order to depict the David and his surround- 
ings, lending a sympathetic eye that probes the brain and heart of the 
child squeezed between his mother and nurse, and she must see every 
detail as he describes it. 

In order to do this successfully, intuition is essential. It will 
inspire the voice to a like comprehension, with the result that her 
listeners will be able to see that little weary figure quite plainly. Thus, 
in everything undertaken, the student must learn to merge her person- 
ality into that of the man, woman, or child of whom she is speaking, 
so that the words spoken seem indeed to fall from the lips of the 
characters portrayed. 

Appropriate Gesture 

Appropriate gesture presents difficulties, and, although occasionally 
a powerful aid, it is more often a stumbling-block to the inex- 
perienced reciter. Many otherwise excellent recitals have been 
marred by superfluous demonstrations, which remind one forcibly of 
the action songs and recitations performed in a kindergarten, whilst 
not a few reciters hedge themselves in with boundaries. They will 
mention the sea, and point to a horizon, indicate distant hills, wood 
and lake, frequently forgetting their respective situations. I have seen 
upon more than one occasion a reciter engaged in a ludicrous juggling 
of her scenery, pushing the sea aside to make room for the hills, and 
merging her forests in the lake. This forgetfulness, usually engendered 
by extreme nervousness, renders an artist ridiculous. How much 
better, then, to refrain from gesticulation, unless she has mastered its 
intricacies. 

In drawing-room reciting the voice must expand according to the 
acoustic properties of the apartment. A good way of making the 
voice carry is to imagine it an india-rubber ball, which is being thrown 
against the opposite wall. This thought will gradually insure its elastic 
properties. 

When reciting, the eyes should be kept from roving among the 
audience, nor should they be fixed in a strained, glassy stare on the 
ceiling, for they are too useful to the performer, and will be needed 
to express different shades of thought. 

If the reciter is nervous, she should endeavor not to show it 



120 HOME FUN 

by twisting her fingers or moving her feet. The best cure for this 
harassing affliction is to glance quietly at the audience before beginning 
to recite. Taken individually, they will be found far from alarming. 
After this, a determined endeavor should be made to concentrate the 
mind on the artistic rendering of the recital. 

To many elocutionists, costumes are a help, enabling them to grip 
more powerfully the character portrayed. In this case a certain 




yi.h 



,*' 



^-»~%* 



The epic radius, or mental zone. 



amount of gesture is advisable, but there are no hard and fast rules. 
Actions must be governed by discretion and common sense. 

The hand may properly be called a second tongue. As such it 
should be treated, and, to continue the simile, should not be allowed 
to stammer behind or chatter meaninglessly before the reciter. 

The hands and arms are capable of a vast amount of expression 
when properly used. 

Gesture may be divided into three classes : — 

I. The epic radius, or mental zone, is the movement above the 
head and horizontal with the shoulder (Fig. 3). These are sweeping 
and graceful, not jerky movements, indicating such sentiments as 
honor, conscience, awe, veneration, &c, and may be used with 
advantage in such lines as — 



DRAWING-ROOM RECITALS 121 

" Great ocean! strongest of Creation's sons, 
Unconquerable, unreposed, untired, 
That roll'd the wild, profound eternal bass 
In Nature's anthem, and made music such 
As pleased the ear of God! original, 
Unmarr'd, unfaded work of Deity. 
From age to age enduring and unchanged, 
Majestical! inimitable! vast! 
Uttering loud satire day and night on each 
Succeeding race, and little pompous work 
Of man! — unfallen, religious, holy sea." 

In Shakespearean recitals and other blank verse, this epic zone may 
be used, as, for instance, in such pieces as the choruses of Henry V. 

2. The rhetorical radius, or moral zone, includes the movements 
of the arm from breast to shoulder and from the region of the heart 
(Fig. 4), and may be used to appeal, implore, beseech, express love, 



Fig. 4. — Rhetorical radius or moral zone. 

hate, fear, contempt, &c, as in Queen Katherine's speech in Shake- 
speare's "King Henry VIII.," Act ii. Scene 4: — 

" Sir, I desire you do me right and justice, 
And to bestow your pity on me." 

3. The colloquial radius, or vital zone, from below the waist 
(Fig. 5), is used to express ordinary sentiments that do not emanate 
in the heart or higher intellect, and may be used to give point to a 
simple, everyday occurrence, or narration, as in — 

" Only a pin, yet it calmly lay 
On the tufted floor in the light of day; 
And it shone serenely fair and bright, 
Reflecting back the noonday light." 

During the long winter evenings, when amusements and entertain- 
ments are cordially welcomed in home circles and at friends' firesides, 



122 HOME FUN 

the youth or maiden who is unable to play or sing, may, with a little 
care and practice, provide a delightful item in the programme, which 
will add considerably to the evening's enjoyment. 

An hour's regular practice a day will work wonders with the voice 

of these aspirants, and there are 
many simple and exquisite poems 
that are easily committed to mem- 
ory, for the student is far more 
likely to succeed and give pleasure 
to others in memorizing at first only 
the simplest and shortest poems, 
remembering always Shakespeare's 
invaluable counsel to players: — 

" Speak the speech, I pray you, 
as I pronounced it to you, trippingly 
on the tongue; but, if you mouth 
it, as many of your players do, I 
had as lief the town-crier spoke 
my lines. Nor do not saw the air 
too much with your hand — thus; 
but use all gently; for in the very 
torrent, tempest, and (as I may 
say) the whirlwind of passion, you 
must acquire and beget a tem- 
perance that may give it smooth- 
ness. . . Be not too tame, neither, but let your discretion be your tutor ; 
suit the action to the word, the word to the action, with this special 
observance, that you o'erstep not the modesty of Nature." 



-.''•' 




Fig. 5. — Colloquial radius or vital zone. 



CHAPTER XVII 

THE ART OF WHISTLING 

Methods of a Famous Siffleur 

There is no form of drawing-room entertainment which, when well 
done, is more interesting than whistling, with pianoforte accompani- 
ment. 

Below are embodied the views and methods of Mr. Charles Capper, 
the famous English siffleur, regarding this unique and attractive means 
of entertainment. 

The great part of humanity knows nothing of that ability of piping 
and whistling so natural and melodious in the blackbird and thrush. 
Most of us have at some time or other put by a little of our bread-and- 
butter earnings in order to take a few lessons in learning to sing or 
to play the pianoforte or some stringed instrument. But there are 
comparatively few who turn to whistling as a means of livelihood or 
as an accomplishment. It is fortunate that this is the case, for, unless 
one possesses considerable natural talent, it is mere waste of money, 
time, and endeavor. 

Whistling cannot be hammered into being. It is only where real 
ability is possessed that the student may set himself to work and over- 
come its many difficulties, and hope to achieve his best. 

Another gift equally essential is that of a good natural ear — an ear 
that instantly distinguishes and corrects the note which is a shade flatter 
or sharper than it should be. 

It is a fact worthy of note that, while an unusually high roof to the 
mouth is a disadvantage to the singer, it is — so some medical specialists 
assert — a great gain to the whistler, and perhaps this is the reason why 
it is so rare to meet skilled exponents of the art. 

However, it is common enough to hear in almost every grade of 
life the whistling that has never been cultivated. For example, in the 
early morning, a few shrill tuneless notes float up to one's bedchamber 
from the area steps, as a dairyman hands in the allowance of milk; 
but this annoys rather than delights, although it speaks eloquently of 
the human soul of the whistler. 

123 



124 HOME FUN 

When the boy whistles, his mother knows he is well — in a good 
temper, and contented with the whole universe. The merchant, step- 
ping into his office, may trill a few bars of " Tommy, make room 
for your uncle," and the sound conveys volumes to the sharp-eared 
clerks, who foresee a day of unusual calm and peace; because a man 
suffering from spleen, liver, gout, or toothache never so far forgets his 
agony as to whistle. 

Whistling invariably shows a light heart, and perhaps the reason 
why the birds indulge in this pastime so freely is because they know 
nothing- of the burdens that beset mankind. 



Breathing and Tone 

The most important qualities to be observed in whistling are 
production and control of breathing, modulation, purity and roundness 
of tone. 

The method of breathing in whistling is exactly similar to that 
used in vocalization, and can be taught by any good teacher of singing. 
Scales and exercises should be daily practiced with infinite care, — to 
keep the notes clear and of even pitch. 

Slurring or stumbling in a quick passage can be easily perceived — 
perhaps more so in the whistler than in the singer. Scales and runs 
should be undertaken, slowly at first, gradually increasing speed and 
tone until perfect flexibility is attained. 

Many a whistler capable of faultless execution fails to charm, 
through monotony of tone. This is a fault as common as it is serious. 
Whistling, with practice and thought, can be modulated in a far 
greater degree than either the flute or the piccolo, and with much 
greater effect. 

It is not enough to whistle a song correctly. The student should 
first study and memorize the words, so that he may express the tender 
pathos expressed in the song. 

The whistler should pay as much attention to artistic rendition as 
the vocalist — if possible, even more — because he cannot voice the words 
with which to appeal to the hearts of his hearers. He is obliged to 
convey the sorrow, or humor, as the case may be, without the utterances 
we recognize as the insignia of distress, joy, or love; and his heart 
must be behind his notes, and enter into them, to win the spirits of the 
audience to comprehension and sympathy. 



THE ART OF WHISTLING 125 

Suitable Solos 

Whistling may be divided into two classes : — 

(1) The florid — necessary in such solos as Arditi's "II Bacio," 
which seems at first to the beginner to teem with insurmountable diffi- 
culties, but which a little earnest practice will soon overcome. 

(2) The sentimental. — In this category are Bishop's early English 
songs, such as " Bid me discourse," " Tell me, my heart," " Should he 
upbraid," " Lo, hear the gentle lark," " Love has eyes," Clay's " I'll sing 
thee songs of Araby," &c. All these songs make excellent whistling 
solos, and are delightful when rendered with artistic sympathy and 
meaning. 

All songs must be memorized. The whistler cannot give necessary 
control to his breathing and production if he holds the music in his 
hand. In practicing, it should be placed on a music-stand, and, in 
performing, must be note perfect. His whistling must be so faultless 
in its conception that the audience must almost hear the words coming 
from his lips. 

Most of the solos forming the whistler's repertoire are well known 
and popular, and the verses of such songs as " My mother bids me 
bind my hair " are familiar wherever the English language is spoken, 
so that all audiences are capable of interpreting the meaning of the 
sweet lilting notes. When we listen to " The Lost Chord," played on 
the organ, we seem to hear the throbbing rhythm of the words just 
as if some spirit were singing them, and so it should be in the whistling 
of Spohr's " Rose softly blooming," and many another song which will 
doubtless occur to the student. 

Care should be taken not to whistle in too high a key, as this spoils 
the quality of the tone, rendering it thin and shrill. The middle register 
contains better notes than the higher. 

The piccolo is pitched one octave higher than the flute, whilst the 
whistler's notes are said to be two octaves above the flute. Although 
the notes whistled are apparently very high, when judged by the ear, 
or compared with the pianoforte accompaniment, they are not so, 
in reality. 

It is rare to find the extremely high or the extremely low whistler. 
Except in a very few cases, all whistle in about the same pitch. The' 
most usual key is F or G. 

In spite of the old dogmatic assertion about the " whistling woman 
and the crowing hen," there are more young lady performers in this 
profession than young men, and very charming whistlers some of 
them are. 



126 HOME FUN 

It is a remarkable fact that not infrequently an individual, whose 
tonation is faultless in singing, cannot whistle such a simple melody 
as the national anthem without coming to grief. 

Here are two useful points always observed by Mr. Capper. 

The first is never to laugh when performing. The veriest novice 
knows that his risibilities must be well under control before he can 
whistle a single note, so that it is essential for him — no matter what 
funny incident is noticed and appeals to him — to hold tight to his gravity. 

The second is that lip-salves should be strictly avoided, as they 
render the lips susceptible to cracks and cold; besides, they make a 
film which sticks and prevents clear whistling. 



CHAPTER XVIII 

BUNKUM ENTERTAINMENTS 

The Cuckoo of Society 

It has been asserted that the noun " bunkum " is first cousin to the 
verb " to bunk." If so, the dealer in bunkumisms disdains the con- 
nection until matters grow too hot for him at the end of a performance, 
when, as a last resource, he hugs his relative gladly. Cupboard affec- 
tion this, and in order to shelter himself from the righteous wrath of the 
audience, achieves a flying bunk from the platform. 

The word " bunkum " is interesting. It is defined in the dictionary 
as " speech spoken merely to please one's supporters or constituents 
and secure their votes — mere talk." It originates from " Buncombe, 
a district in North Carolina, with a constituency, to please whom a 
member of theirs once boasted he made a speech in Congress." 

Bunkum covers a wider field than science, woman's suffrage, or 
politics. It is an autocrat that stands aloof, and demands the gentle 
hearts of greenhorn and sage alike for its sacrificial fires. It endeavors 
to prove that the age of miracles has not been choked out of existence 
beneath the widespread fingers of civilization, or how could an orange 
be transformed before our eyes into a cauliflower, an egg into a peeled 
potato ? 

The bunkum entertainer molds the brains of the most iron-headed 
cynic into putty, and transforms the scoffing jeers of the know-all school- 
boy into humble admiration. He is a quack sorcerer, and, even while 
we designate him as such, we are obliged to own that his art is steeped 
in deepest mystery. 

The bunkum entertainer is a parasite, a cartoonist, and mimic, a 
smooth-tongued, unscrupulous rascal, who deserves — the conscientious 
entertainer (who never tries bunkum because he is too stupid and wool- 
headed) so has it — to be banished to a desert island and served to can- 
nibals as minced donkey flesh "a la bunkum." He is the sort of man 
who borrows five pound notes, gold watches, and diamond rings from 
his audience, and forgets to return them. He cheats, deludes, patters, 
lies by the yard, swallows enough solid materials to furnish a ware- 
house, and give an ostrich indigestion. 

127 



128 HOME FUN 

He is tough and brazen, and cheaply cynical at the expense of the 
authentic conjurer, juggler, phrenologist, ventriloquist, seer, and 
spiritualist. He is the cuckoo of society. He concocts a potpourri 
of brains and wit, and offers it as his own; and yet, in spite of it all, 
how fascinating and overwhelming is his personality. He is the fool 
of the. world — the jester who prances about in cap and bells, who 
causes our sides to ache in our futile effort to keep our risibilities 
decorously pitched. Never did a folly play pitch and toss with the 
pedantic phrases of solemn courtiers, kings and prelates, as ably 
and irreverently as this monster incarnate with the five senses of 
mankind. 

He is wrapped in mystery. We regard him with awe and wonder : 
the curtains, the table, the walls, the footlights are his faithful agents. 
We gaze at the rabbit popping up from his hat, the watch flicked 
through a pistol barrel to the wall, the inane jack of diamonds darting 
from his mouth to the back of his coat, in trembling amazement of his 
cunning. We whisper to our beating hearts, "Can such things be?" 
At that instant he throws aside the cloak of secrecy, and shows us his 
glaring infidelity. He has not, as we supposed, ruptured and mastered 
every law of gravitation and nature. He has simply been dealing in 
the art of " bunkum," and, when he reveals his methods to us, as he 
never fails to do in a continuous prattle of artless confidence, we see — 
or we think we see — that it is all child's play and foolish absurdity. 

The rabbit has not been suddenly created, full-grown, in the crown 
of his immaculate silk hat. It owes its mild behavior to constant dis- 
cipline, its sleek coat to cabbage leaves. Like Topsy — like all other 
bipeds, quadrupeds and aquatic creatures — it has simply " growed." 
Its cage is behind the stage, to which it will presently be spirited away, 
to rest in peace after its labors. 

When we discover this we become very wide-awake, very " cute." 
We will see through the next trick or perish in the attempt. Alas! 
alas! for our righteous determination; once again we are deluded and 
snared. The table performs a giddy reel, the watch of the confiding 
benign bald-headed gentleman in the corner is shattered before our 
eyes, and with a thrill of horror we strain our necks to gaze in his 
direction in order to witness the anticipated apoplectic seizure. 

The gentleman, however, remains stolidly non-committal. My 
young schoolboy eyes observe a whitening of the gills, a compression 
of the lower jaw that bodes ill for the entertainer if he does not make 
good the loss; and a few minutes after he is bidden of the smiling 
performer to look in his pocket, and, lo and behold ! the monogramed 
watch, which we are ready to swear we saw him pass to the platform, 
dangles safely from the end of the chain spanning his stomach. The 



BUNKUM ENTERTAINMENTS 129 

shattered timepiece, we are told glibly, was only a base imitation in tin 
and glass. 

But how, where, in what manner? queries my boyish soul, steeped 
in perplexity; and, by-and-by, the monster answers all these questions 
as if he read that inner inquisitive voice so satisfactorily that I go home 
and try the trick before an admiring circle of friends, borrowing my 
maiden aunt's watch for the purpose, she being quite unaware that I 
have its threepenny duplicate in my pocket. 

Sure of Success 

I am sure of success. I imitate the performer's patronizing com- 
placency perfectly. I smile and sneer politely with all his evil suavity, 
and then I fire my pistol, shatter the glass of the threepenny, and my 
aunt rises from her chair with a piercing shriek. 

" Tom, you little wretch, what have you done ? " 

With an airy smile I bid her be calm, and from the rear part of my 
person produce with a deft movement her precious belonging. 

"Your watch, madam," I say, with all the superior pleasantry of 
the " bunkum " performer. 

Then the smile freezes on my face, the timepiece feels strangely 
light in my clammy hand. I gaze at it in horror. My eyeballs distend, 
my heart swings backwards and forwards between my ribs. I have 
bungled! The good watch is shattered beyond hope of redemption. 
The disc of paper and glass cowers up at me, its hands stretched con- 
fusedly across its impudent face. 

Disgrace and ignominy descend swiftly upon me. My maiden aunt 
prepares to leave the house, declaring she will never enter it again. 
My parents, who expect great things at her demise, beseech her for- 
giveness in vain. I am banished from the firelit circle to my own room, 
up to which a step presently approaches, striding away from the disorder 
and hysterics downstairs. My father enters with a long slender imple- 
ment behind his back — an implement which, from former experience, 
I know portends woe terrific. 

I draw the curtain — I am chastised and broken in body and spirit. 
For a whole week I keep severely aloof from the awful bunkum tyrant, 
and then, alas ! I am drawn again to the hall, where he is performing 
as remorselessly as the silly fly is drawn to enmesh himself in the spider's 
web. 

The next time I played a trick on my family I took good care it 
should be of a kind that would do no one — not even the most hyper- 
sensitive individual — any harm. Needless to say, my aunt was not of 
the circle. 



130 HOME FUN 

Thought-Reading Extraordinary 

I told them briefly and airily that I was now about to exhibit my 
wonderful skill in thought-reading. Perhaps I should add that my 
sister Jane, who adores me, was chosen as my confederate. Bidding 
them fix on a number, which I would at once discover by the simple 
means of placing my fingers on their temples, I withdrew with a bland 
smile into the passage. 

When I returned they giggled a little, and one twelve-year-old cynic 
of the opposite sex piped out scornfully — 

" You'll never guess it, Tom. You can't possibly — so there." 

This maiden, often a thorn in my flesh, I silenced with a severe 
frown. 

" If you please, I must request the audience to be perfectly silent, 

to concentrate their minds — those of you who possess them " I 

paused to scowl at my pink-and-white torment — " concentrate them abso- 
lutely on the chosen number. • I am not going to guess it. I am going 
to discover it by means of thought transference, and, as the strain 
is very great, I must ask you to be perfectly silent." 

" It's like having our photo taken," whispered the torment, but some 
one bumped her ribs, and she was reluctantly silent. 

Solemnly, slowly, I moved round the circle. With drawn brows 
and narrowed eyes I placed my fingers lightly on the temples of my 
father, mother, uncle, and friends in succession, and then I reached 
Jane. She set her teeth just as I had shown her, and I felt the muscles 
at her temples work steadily. Having counted ten vibrations, I went 
on stolidly to the other heads until the circle was completed. Then, 
standing before them, I wiped the imaginary sweat of fatigue from my 
brow. The torment looked radiant. 

" You don't know it? There — I said so, Tom, you goose." 

" Madam," I returned with a bow, " the digit fixed upon was 
ten!" 

Tableau vivant! The complete confusion of the torment, the most 
guileless " bravo " from Jane, and my uncle's audible whisper to my 
proud parents. 

" The boy's a positive genius ! " 

" And he looks quite white and tired," quoth mamma. 

Result — the promise of a ripping new bicycle from grandpa as a 
reward for my merit. 

I owed a lot to Jane, who remained my faithful unsuspected con- 
federate in many other tricks, which gained me a reputation of being 
something of an extraordinary phenomenon and possessed of embryo 



BUNKUM ENTERTAINMENTS 131 

genius. It was delightful to enjoy the giddy pinnacle of fame to which 
my female relations raised me. 

Another trick that caused much sensation was the following, and, 
for any youth who wishes to follow in the footsteps of the great (which 
I think some old poet chap — who had never studied the art of bunkum — 
remarked are written " on the sands of Time,") I will state clearly 
the manner in which it was done. 

Place three corks on the table, and tell your wondering home circle 
that, while you withdraw, they may touch one of them, and you will 
tell them which cork they touched. Your confederate must classify 
them as top, middle, and bottom. 

When you return, do not look at her fixedly, but just once through 
the tail of your eye. If you observe her brush her hair carelessly 
from her forehead, you may safely conclude that the top cork is the 
one that has been touched. If she picks an imaginary speck from 
her nose or blows it, it is the middle cork. If she scratches her chin 
pensively, it is the bottom cork. She must take care not to prolong 
the process, and you must see at once (without appearing to do so) the 
hint conveyed. 

Fake Ventriloquism 

By-and-by, delighted with my many successes, I studied and ex- 
hibited the difficult art of ventriloquism. Jane and I, after long saving 
of pocket-money and hoarding of occasional tips — bestowed by kindly 
relatives, susceptible to hints — succeeded in purchasing a dilapidated doll 
from a second-hand dealer, and, mastering the anatomy of its joints, 
produced it, seated in the place of honor in front of a curtained recep- 
tacle in which Hyde, our servant, was cramped with a mouth organ, 
glass of water, straw and other apparatus, carefully schooled before- 
hand as to cues and the order of utensils to be used. Or in place of 
a lay figure, another boy seated in the chair, and appropriately dressed, 
can act as dummy (Fig. 1). 

The bunkum ventriloquist must insert his hand in the hole at the 
back of the dummy, so that he can move his head and limbs as desired. 
He must also convey the appearance of throwing his voice outward from 
his chest, boots or stomach, without opening his lips except when address- 
ing the dummy. 

" Ladies and gentlemen," said I very grandly, " I am about to 
exhibit to you some marvelous feats to illustrate faithfully the psycho- 
logical force which mind exerts over matter. This gentleman has 
spent thousands of years in an African tomb. He was buried on his 
face, and that accounts for his battered nose, while it typifies the 
greatness of the position he occupied in 15 B.C., when it was the 



132 HOME FUN 

custom to put corpses of royal blood with their features compressed 
against the bottom of their coffins. You would much prefer to hear his 
story from his own lips, and this he will now relate at my persuasion : — 
"Androde!" 

Hyde (in a far away husky voice) : " Noble lord." 
" The audience here wish to know something of your experiences 

previous to your long 
confinement in the willy 
waily tomb on the Tim- 
buctoo plains." 

( Hyde bubbles the 
water through the straw. ) 
" He's overcome with 
emotion. These are tears 
trickling through the 
floodgates." (Produce 

handkerchief and wipe 
them away.) 

" There, there, old 
chappie, don't cry." 

Hyde (huskily) : 

"When I think of the 
sand and the worms, I 
can't help it." 

" Don't think about 
them. Tell us about the 
Palace Mahome in which 
you lived." 

Hyde : "It was very 
beautiful — flowers, foun- 
tains, fruit, and baccy as 
much as I could con- 
soom." 

Hyde's pronunciation is somewhat faulty, but I excuse this by 
saying that poor Androde has not sufficient air in his sand-choked lungs 
to pronounce clearly. 

"And there were birds, were there not?" 
Hyde (sadly) : " The air was thick with them, noble lord." 
" Can you recall the note of the Timbuctoo owl? " 
(Figure lost in pondering. Head bent, hand raised to temple in 
Shakespearean attitude; lifts his face, mouth opened in a wide grin.) 
Hyde : " It all comes back." 
" Give us a specimen of the owl." 




i. — Fake ventriloquism. 



BUNKUM ENTERTAINMENTS 133 

(Pause. Dummy thinks hard, and Hyde blows mouthpiece. I 
then call upon him to imitate the Timbuctoo lion, and Hyde growls 
through a glass chimney, swayed backwards and forwards, and renders 
excellent imitation.) 

I need not narrate our further conversation. The young bunkum 
entertainer can concoct something probably far more idiotic himself. 
He may dish up puns, tell funny tales, ask riddles, &c, and, so long 
as his patter is bright, amusing, and illustrated by as many funny 
jerks and head-turnings of his dummy as he can squeeze into the 
entertainment, he will keep a house party amused for a considerable 
time. 

My figure is not always posed as an unearthed royal mummy from 
the plains of Timbuctoo. Sometimes I dress him as a coster-boy, 
chimney-sweep, or gentleman in evening dress. Not infrequently he 
appears as a clown in tight linen skull-cap and red stockings; and a 
quick change into my mother's old dress, renovated by Jane, transforms 
him from an awkward-limbed hoyden to a demure old lady. 

This dressing need not cost the performer anything. He has only 
to unearth a linen bag, containing remnants and articles of outgrown 
clothing, to work the miracle. A dummy should have as many different 
costumes as Queen Elizabeth. They will all come in handy, and add 
novelty to the entertainment. 

If the cost of procuring a dummy is beyond the performer's purse — 
as it was beyond mine for quite a considerable time — he may engage 
a confederate to walk, behave, and talk automatically, conceal his face 
in mask and wig, and render a clever and ludicrous performance. This, 
however, needs considerable rehearsing and care. 



The Three Old Maids 

An item that makes for novelty and change in an evening's perform- 
ance is the following: — 

Secure three young girls — I don't mean kidnap them, but use your 
masculine powers of persuasion. (I find the majority of women folk 
need little when it's a matter of dressing up and showing off to hilarious 
friends.) This is a digression. 

Each damsel must have an old woman's mask, the uglier the better, 
secured at the back of her head by means of elastics, which are easily 
hidden by her hair. She must wear a long skirt that conceals her feet, 
the back part of it covered by a small apron. 

Her hands, in mittens, should be clasped behind her over a stick. 
To hide the edge of the mask, some fluffy headgear is essential, such 



134 HOME FUN 

as a lace fascinator with a rose or two fixed at the side, which is 
folded crosswise over the back of her shoulders and frames the 
mask. 

Place the three behind a curtain. When all is ready — and the per- 
formers should take care to stand perfectly still, for fear of disclosing 
the masked profiles at the back of their heads — the curtain is drawn, 




Fig. 2. — The Three Old Maids of Lee. 



and they sing to a pianoforte accompaniment a verse of " We are three 
young maids of Lee." 

The onlookers will probably designate this " pretty, but rather tame." 
This is where the fun comes in, for no one is prepared for the grand 
finale. At the end of the verse the maidens step backwards in 
a row and retire behind the curtain, or turn round with their masks 
to the audience, their heads thrown well over the hands holding the 
sticks (Fig. 2). When they are ready the curtain is again drawn, and, 



BUNKUM ENTERTAINMENTS 135 

amid shrieks of merriment, the last verse is sung by voices as cracked, 
discordant, and out of tune as possible — " We are three old maids of 
Lee." The hands and heads should quiver with old age, the figures be 
bowed over the sticks. The result is ludicrous to a degree, and never 
fails to delight the unprepared audience. 

I once saw an old dowager duchess, severe in full consciousness of 
war-paint and feathers, nearly burst the diamond snap of her necklace 
with laughing at the absurdity of the spectacle presented. Its great 
advantage is that it is cheap and easy, and can be performed without 
any rehearsing, by inviting three girls from the audience and spending 
a few minutes in instructions behind the scenes. 

If you do not know them well enough to presume so far upon their 
good-nature, call up three chums of your own sex, array them in femi- 
nine apparel, and the result is even more ludicrous, if more expensive, 
for in this case you will require wigs to hide their cropped heads for 
the first verse, and dressing them will need more time. 

Bunkum Lectures 

I have frequently amused my long-suffering friends and relatives by 
Bunkum Lectures. For example, one on Toe and Cornology, quite an 
original science, gives scope for the most idiotic remarks on the charac- 
teristic traits portrayed by toes. 

For my lecture I have an easel, covered with a block of thin paper 
perforated at the top, so that the sheets are easily torn off. On these 
I rapidly sketch in turn different types of toes in chalk. 

If the entertainer is unable to draw, he can probably persuade an 
artist friend to sketch the members required beforehand. In this case 
the sheets need not be perforated, but simply thrown over the top of 
the easel as he exhibits the different drawings. An easel is soon con- 
structed, and can be made at home out of soap boxes by the amateur 
carpenter; or the block of paper may be placed on a music-stand. 

I begin my lecture by a short treatise on toes. I show diagrams 
of (1) the President's toe, (2) the prelate's toe, (3) the courtier's 
toe, (4) the tyrant's toe, (5) the toady's toe, (6) the artisan's toe, 
(7) the neurotic toe, (8) the spiteful toe, (9) the cringing toe, (10) the 
poetic toe, (11) the melancholy toe, (12) the absurd toe, (13) the 
philanthropic toe, (14) the corn-riddled toe. Here I try to be witty, 
and remark that some people of an original turn of mind wear their 
corns on their noses instead of inside their boots. 

" The corn is precious — we all need corn ; we make a great to-do 
when our corn is oppressed by taxes, for we cherish it. There is 
nothing — not even his wife or twin babes — so dear to the heart and 



136 HOME FUN 

necessary to the well-being of man as corn. Corn means bread. Bre?-d 
is the staff of life. The man with corn (a corn) is grateful for the 
prop of the staff, so that to have a corn sprouting on your big toe should 
be no hardship. 

" It is a convenience. It is tinned for consumption in your boot, 
out of reach of Tariff Reformers and Free Traders. It is your own 
private property. Sometimes it is trodden on maliciously, but it does 
not vanish on that account. There is something obstinate and bull- 
necked about the corn — the more it is trodden on the more it asserts 
itself. It is a hot-house plant. It needs a cover of wool, a roof of 
boot leather. Under these conditions it thrives like the baby fed on 
Mellin's food. 

" I can't understand the fuss the unemployed make. Why should 
they, when they have such a treasure hidden in their boots? So 
long as a citizen possesses this luxury he is an independent man. 
What does he want with foreign corn? Ah, my friends, we have 
not yet reached the full realization of the tremendous privileges we 
inherit. The corn may not yet be ripe for cutting, but every day, 
every hour, sees it nearer that perfection which rejoices the heart of 
humanity. 

" See how beneficent nature has become during the last centuries. 
The bootless, prehistoric savage had to plant and reap his corn in the 
barren fields, while we are provided gratis with an abundant supply 
that is likely to last some of us a lifetime. 

" There are, of course, some individuals who have barren, cornless 
toes, although I am glad to say they are in a very small minority. I 
have taken pains to secure a correct census of the corn-sprouts that 
have appeared during the last year, and I find on an average that only 
5 per cent, are ignorant of this blessing. 

" The uses of a corn crop are too numerous to mention. Its chief 
function is its use as a barometer. The man setting out with his wife 
and children to spend a day at the seaside should, before starting on 
the excursion, consult his booted friend. If it admonishes him severely 
he should not ignore its voice. Woe betide him if he does! It is less 
disastrous for him to drown his conscience than shut his heart against 
the promptings of his corn. 

" Should he do so, and act upon his determination to spend a long 
day on the sands, anticipating a pleasurable bask in the sunshine, dire 
catastrophe will befall him. Rain descends in bucketfuls upon him, 
his patient wife, and wailing progeny. They return to town drenched 
to the skin, and are all laid up with chills, which means a week's absence 
from the office — perhaps dismissal by his employer, if he is a clerk, 
and a long doctor's bill at the end of the month; and who is to blame? 



BUNKUM ENTERTAINMENTS 137 

Had the man obeyed the mandates of the faithful vegetable protuberance 
on his big toe all would have been well. 

" The only individual I am inclined to respect and admire is the 
man who cultivates and is led by his corn in all the important affairs 
of life. To be without the ripening corn is to miss the greater part 
of the meaning and poignancy of existence. The possession of this treas- 
ure causes a man to thread his way gingerly and tactfully through the 
city streets. He never blunders or bungles; he is a sensitive, considerate 
person, who unconsciously avoids treading upon or coveting the abun- 
dant crops of others. His corn's influence is more beneficial than free- 
masonry or foreign missions. 

" To gain the sympathies and interest of a fellow-being when you 
are in trouble and want his financial aid, don't plunge into your story 
at once, but approach him gently with the kindly query, ' Have you a 
corn?' If he replies in the affirmative, you may safely intrust him 
with your difficulties. If, on the contrary, he negatives your question, 
recognize at once that he is a man of dormant sympathies, and don't 
waste further time upon him. It will be useless. He is a cornless 
individual, therefore heartless." 

I wind up my discourse with some such remark as this — 

" Ladies and gentlemen, turn away from the pernicious tyrants who 
seek to rob you of your birthright in advertising corn salves and plas- 
ters. They are wolves in sheep's clothing. They are jealous and em- 
bittered by the barrenness of their toe pastures which, do what they 
will, yield no corn." 

The Sharp (?) -Shooter 

After this, in order to secure the forgiveness of my hearers for my 
opinions and oratory, both pure bunkum, I bring a trick to their 
notice, which I work with Hyde, and of which I am rather proud, 
because it is quite original and works awfully well, in spite of the fact 
that it's as simple as the alphabet. For those who would like to try it, 
here it is : — 

Hyde, hidden behind me, is armed with a paper bag inflated with 
air. Beforehand I place a used bullet on the floor at the spot at which 
I intend aiming my pistol. 

I employ some patter to remove the growing alarm of my family, 
and the anxiety expressed for themselves, the furniture, and lastly — 
my own person. 

" Ladies and gentlemen," I say with self-complacency extreme, " I 
am about to perform a feat with my hands" — (joke — pause — a flutter 
of laughter). "Thank you," I say with a polite bow — "the like of 



138 HOME FUN 

which has never been seen — since the making of the world. I will 
load and fire this revolver, and the bullet will not only make no mark, 
but there will not even be a flash or smoke. You will hear the sound 
of the explosion, and I will show you the bullet discharged. 

" So that you may see that there is no bunkum in this marvelous 
achievement, I will hand you the bullet before I place it in the barrel 
and immediately after I have fired it." (Here I pass round unused 
bullet. I then place it in full view of the audience in the barrel.) 

I retire to the curtain immediately in front of Hyde, and take aim 
above the spot where the spent bullet lies. Count aloud " One, two, 
three ! " At three I pretend to pull the trigger, and Hyde brings his 
hand forcibly on the paper bag, which causes my audience to bounce 
in their chairs. 

Then I cross the platform, stoop, pick up the used bullet, hand it 
round for inspection, and retire modestly, overcome with glory. 



The Ghost 

Occasionally I work a ghost in the following way. After some 
patter, in which I inform the onlookers that I am about to conjure 

up the shade of some famous 
character, I extinguish the 
lights, and withdrawing to 
a corner of the room, en- 
fold myself in a long black 
mackintosh or coat that 
shrouds my head and figure 
completely. 

I strike a match behind 
the curtain, and, when I 
have a good spark that will 
last a few seconds, blow out 
the flame, and hold the end 
of the match between my 
teeth, so that my mouth is 
lit up (Fig. 3). My lips are 
drawn in a fiendish grin, 
and I strike an attitude, 
accompanied by inhuman 
moans and drum-beating 
from Hyde. 

When the spark dies, I hide the black garment behind the curtain, 
and assume the position I occupied before the appearance of the ghost. 




Fig. 3. — The Ghost. 



BUNKUM ENTERTAINMENTS 139 

Hyde switches on the light, and my shivering onlookers have no 
key to the riddle. 

The apparatus employed by the bunkum entertainer and the cost 
it entails depend largely upon his own ingenuity. Most of the articles 
I employ are of my own manufacture. My wigs do not hail from 
a wig-maker's, but from the lumber room at the top of our house, where 
Jane and I shred disused rope, fix it by means of gum or stitches on 
to pieces of stiff book-muslin, shaped so as to fit the head. If other 
colors, such as black and red, are required, we resort to aniline dyes, 
and the result is much satisfaction to ourselves. 



CHAPTER XIX 

VENTRILOQUISM IN A MONTH 

A Practical and Comprehensive Guide to the Art of 
Valentine Vox 

There is one form of entertainment which perhaps makes a stronger 
appeal to the average boy and young man than almost any other. It 
would not, in a sense, be wrong to say that ventriloquism is, and has 
been for a great number of years, the most envied of all accomplish- 
ments incidental to the art of the amateur and semi-professional 
entertainer. 

True, ventriloquism for many centuries was regarded as an adjunct 
to wizardry, and the exponents of black magic, but the great success 
achieved by the writer of " Valentine Vox," the central character in 
which was endowed with the most wonderful and extraordinary powers 
of voice throwing, brought the subject of ventriloquism at once under 
general notice, and ever since it has steadily won its way into universal 
favor, with the result that, at the present time, it easily eclipses in 
popularity most other forms of amusement. 

Despite this, however, the misconceptions existing regarding this 
branch of vocal phonetics are extraordinarily numerous and widespread, 
due, perhaps, in a measure to the fact that the amount of valuable 
written instruction on ventriloquism is so small, while the number of 
people who have swallowed the fascinating and improbable adventures 
dealt with in the book just referred to are correspondingly large. 

To a very considerable extent, then, it is the object of this chapter 
primarily to dispose of the many existing fallacies concerning ventrilo- 
quism, because by so doing alone is it possible to commence a study of 
the subject with the hope of attaining proficiency and success. 

The first idea which the would-be ventriloquist has to dismiss from 
his mind is that, by following out a stated course of exercises, he will be 
able to " throw " his voice or, in other words, to upset the equanimity 
of peaceable old gentlemen snoring quietly in the furthest corner of the 
railway carriage — or ruffle the temper of some aged lady by producing 
facetious remarks concerning her appearance — from a long distance 
away; not that those who approach this subject have any particular 

140 



VENTRILOQUISM IN A MONTH 141 

desire to be a disturbing influence to other people, but it is safe to say 
that more take up ventriloquism with the idea of practical joking than 
for any other purpose. 

In point of truth, the real art of Valentine Vox does not lend itself 
very easily to the production of such illusions; even when the performer 
is capable of producing ventriloquial sound, he will discover that the 
" distant " effect depends almost entirely upon his situation at the 
moment of utterance, and whether or not those around him are pre- 
pared to give the credence he desires to his efforts. In other words, a 
ventriloquist cannot throw his voice wheresoever he will as if it were 
sound bottled up only to come out and be heard when it is some 
distance away; the best he can hope for is to make that sound so 
deceptive to the ears of his audience that, to them, it seems to come 
from some one other than the actual speaker. 

It cannot, however, be denied that the stock-in-trade of the clever 
ventriloquist is so unusual and superior to that of his fellow-worker in 
any other branch of entertainment, that he is capable of producing the 
most humorous and arresting situations. Moreover, it is a power which 
once gained can never be lost, and although a ventriloquist may, from 
various causes, give up the pursuit of his favorite subject for a period 
of many years, yet he can pick it up again at the point where he left it 
and find himself still possessed of the same wonderful and extraordinary 
skill. 

All Born Ventriloquists 

Unhappily there are other very prevalent misconceptions to be 
removed before instruction can be either given or undertaken. The 
marvelous and almost incomprehensible powers attributed by the late 
Mr. Henry Cockton to his popular character, doubtless gave rise to the 
idea that ventriloquism was a gift natural only to those possessing unusual 
formation of the throat and vocal organs. Modern research and in- 
vestigation, however, have proved that every one is a born ventriloquist, 
that the power to make sounds appear to emanate at a point remote 
from the speaker is universal — and that all those who study the subject 
from a proper and sensible standpoint can easily acquire the art. 

Then, again, it has long been supposed by the uninitiated that 
ventriloquial practice is injurious to the throat, and capable of harming 
the lungs. Exactly the opposite is the case; the exercises necessitated 
by the proper study of the art are such as will serve not only to train 
the vocal organs, but also to induce proper breathing — a practice 
neglected by many — and to strengthen and invigorate the lungs. 

From many years' personal experience the author can testify to 



142 HOME FUN 

the truth of this fact; he has known a number of young men who, 
possessing lung and throat troubles, and acting on the foregoing 
advice, have followed out a practical course of ventriloquial training, 
and have obtained much material benefit thereby. 

Of course it cannot be denied that some possess a natural apti- 
tude for the correct expression of ventriloquial sound, and it is they 
who make the cleverest exponents. Therefore, from the start it should 
be assumed that a ventriloquist has only to cultivate the vocal quali- 
fications with which he has been endowed in order to shine as a 
popular entertainer. 

Careful and systematic attention to the instructions subjoined will 
not only strengthen the throat and respiratory organs, but will also 
endow any one young man, or young woman, with the power of giving 
a highly amusing entertainment. Probably many who give this 
chapter attention will do so with the idea of taking up the subject for 
the purpose of making a living, and in that respect it may truthfully 
be said that ventriloquism is one of the most paying forms of enter- 
tainment. While the number of conjurors, comic singers, &c, is 
legion, those capable of giving a really good ventriloquial entertainment 
are comparatively few, with the result that a clever ventriloquist is 
always certain of obtaining engagements at fees which he, himself, can 
fix and command. The popularity of the subject is so widespread 
that the chances of exhibiting it are increasing every year. 

The Initial Stages 

Just as the successful illusionist is called upon to devote many 
many hours of his time to the speedy and finished manipulation of 
cards, coins, and billiard balls, so the young ventriloquist has an 
equally uninteresting course to traverse. It is, however, possible for 
the initial stages of the work to be accomplished in less time than is 
the case with conjuring, and while the work has to be done all the 
same, dry and tiresome though it may be, after it is once accomplished 
the performer can put it behind him for ever. 

The primary difficulty to be overcome is incorrect breathing. 
Possibly nine out of ten, when they come to read this chapter, will 
discover that their method of breathing is faulty. Most people, from 
lack of proper instruction and through carelessness, breathe through 
the mouth — and this fault must be remedied at once. 

For ventriloquism, as with singing, breathing must take place 
through the nostrils. The necessity for this — apart from hygienic 
reasons — is that because the ventriloquist, particularly when he is 
performing with a " lay " figure, is called upon to conduct a dual 



VENTRILOQUISM IN A MONTH 143 

conversation, and the supposed interchange of remarks between him 
and the automaton is so rapid that mouth breathing would interfere 
with the continuous flow of words. Only by taking in deep inhala- 
tions through the nostrils and filling the lungs to their utmost capacity 
is it possible to carry on one part of the conversation with moving 
lips, and the other with the face immutably set. 

Breathing Exercises 

These should be undertaken regularly every day, preferably early 
in the morning and in the open air. Stand erect, shoulders drawn 
well back, arms hanging loosely at the sides, and then, closing the 
mouth tightly, draw in a deep breath, retaining it for some seconds 
in the lungs. Not infrequently it happens, that the ventriloquist 
when performing is called upon to keep a conversation going for 
quite a minute and a half without the opportunity of recharging the 
lung cells with a fresh supply of oxygen; from this it will easily be 
understood how important deep and sustained breathing is. 

At first difficulty will be experienced in holding the breath for more 
than five or six seconds; by the end of a week, after ten minutes' 
practice every morning, the chest will be so expanded and strengthened 
that " half minute breaths " may be taken with ease. Continue the 
practice of this exercise until only one inhalation and exhalation takes 
place every forty or fifty seconds. Somewhat dry, indeed, sounds this 
part of the ventriloquial study; nevertheless it is of the utmost im- 
portance, and will well repay the time, trouble, and perseverance 
devoted to it. 

As a number of minor acquirements must be gained before ventri- 
loquial effects can be produced, the breathing exercises may be alter- 
nated with the most necessary adjunct of learning to speak without 
moving the lips. 

Automaton — or Man ? 

It has previously been said that ventriloquism largely partakes of 
the nature of an illusion, and this effect is produced by the performer 
uttering sounds without giving visible indications of the fact. Conse- 
quently, when the audience have before them two figures, a live and 
a dummy one, and the mouth of the " dummy " opens and shuts to 
correspond with the words used, whilst the face of the ventriloquist 
remains mask-like and passive — the illusion that it is the " automaton," 
and not the man who is speaking, is complete. 

So important indeed is the ability to do this properly, that speaking 
without facial movement ranks of equal importance with the placing 



144 HOME FUN 

of the vocal chords in such a position that "distant'' effect is given to 
sound. In fact, one might almost say that a most amusing entertain- 
ment can be given without this latter power at all. 

Many ventriloquists or polyphonists, as they more correctly desig- 
nate themselves, rely solely for their entertainment on a " knee " figure 
and speech without facial expression. 

Those who do not aspire to become really first-class and proficient 
ventriloquists may conclude their instruction at this point, and rest 
quite assured that they have learned sufficient, at any rate, to give a 
creditable drawing-room performance. 

Naturally the beginner would like to have some idea of the time it 
would take to gain a practical working knowledge of ventriloquism. 
Well, the student who would take the trouble and devote sufficient 
time to the initial and most difficult stages of the work would be in a 
position to give a very creditable performance long before his pains- 
taking brother who, as fast as he seems to be getting on, will find he 
has to go back again and again over the early ground. 

However, after devoting say a week to the elementary stages, a 
" knee " figure might be purchased, and within a very few days a 
private entertainment might safely be entered upon. As, however, the 
course herewith outlined will take in several different kinds of " voices " 
for automata, together with the various modifications of the " distant " 
voice, the student should not expect to gain proficiency under a month. 
Of course, to give a really finished entertainment consisting of an 
exhibition of the " near " and " distant " voices, together with instru- 
mental and vocal mimicry equal in skill to the average product of the 
professional entertainer, many months' practice are required. 

Speaking with Still Lips 

A study of the alphabet reveals that difficulties lie in the path of 
pronouncing certain letters — a, e, i, o, u, c, d, g, h, j, k, 1, n, q, r, s, t, x, 
and z — issue from the mouth quite easily; but b, f, m, p, v, w, y all 
make a demand upon the muscles of the lips and cheeks. Unfortunately 
these letters often recur in ordinary speech, and as it is almost impossible 
to speak them distinctly without facial movement, appropriate vocal 
substitutes have to be made. 

On the border line is " b," which is generally pronounced by bring- 
ing the upper row of teeth down to the under lip and forcing the 
breath out between the lip and teeth; by giving greater force to the 
exhalation, and, opening the mouth, it will be found that almost identi- 
cally the same sound can be gained, and it is this one which has to be 
used for all words commencing with "v " and " b." Thus the word 



VENTRILOQUISM IN A MONTH 145 

" brother " is really pronounced ventriloquially as " vruther " ; in the 
hurry of conversation the substitution passes notice, and the audience 
hear only the correct word. 

For " f " an accentuated aspirate makes a very passable substitution 
— i.e. " fool " becomes " hool," " feel " becomes " heel," and so on. 

" m " will be found rather more difficult, but if the lips are formed 
into an orifice, and the breath drawn sharply in, the sound of the " m " 
can be made inside the mouth instead of by the lips. 

As it is almost an impossibility to sound the initial " p " unless the 
lips come together, words commencing with it should be studiously 
avoided. Another plan is to drop the first letter altogether; but the 
former is the better. 

" w " is amenable to a little tongue-twisting, and is accomplished by 
moving the tongue twice in quick succession to the roof of the mouth 
making the sound at the back of the throat. This is as regards the 
letter itself, but words commencing with " w " are quite easy. Practice 
on " which," " when," " what." 

" y," however, is a fairly certain test, and if you can comfortably 
manage this without betraying the fact to the looking-glass (before 
which you should carry out your practice) then you have mastered 
a great difficulty. A quick exhalation should take place while words 
commencing with it are being uttered. 

Two Kinds of Ventriloquism 

Ventriloquism may be divided into two classes — the first and more 
easy of acquirement known as " near," i.e. including all those vocal 
illusions produced with the aid of automata; and "distant," which 
takes in the various illusions achieved by what is known as " throwing 
the voice." 

The most finished exponent of both these branches, of this or any 
other age, was the great Lieutenant Walter Cole, and he introduced into 
his entertainment such an exquisite blending of the two styles that his 
example might well be imitated by other followers of the art. 

When carrying on an animated conversation with the " lay " figures 
placed at near quarters the proceedings would suddenly be interrupted 
by the low sound of voices coming from afar, and this would gradually 
increase in volume as the speakers were supposed to draw near, until at 
last they would be heard outside the very room in which the entertainment 
was taking place. 

This is alluded to now, as showing the latitude which ventriloquism 
allows its exponents. 

Of the two branches, "near" ventriloquism is much the simpler 



146 HOME FUN 

to acquire, although some might hold that, in order to justify the title, 
" distant " sounds should first be mastered. 

For the purpose of adding interest to the work, students are 
recommended to give precedence to the " near " effects. Briefly, the 
" near " voices come from the mouth, the " distant " from the throat. 

For the former five modified voices are generally used. These are : 
" The old man," " the old woman," " the little boy," " the little girl," 
and " the darky " or " the longshoreman." 

The first is a foundation for the last two. It has been spoken of as 
the " grunt," because, being the vocal production of an aged and un- 
educated man, in its initial stages it much resembles the familiar 
grunting of a pig. 

And here it should be noted that the speech of ventriloquial figures 
is always harsh and toneless because the efforts to produce the sound 
in the mouth without moving the lips rob them of that music and 
modulation invariably associated with the speech of educated persons. 

Do not attempt to speak ventriloquially, as you would naturally 
but slur the endings of your words. Grunt and drag them out slowly, 
just as do many countrymen and those unacquainted with the rules of 
proper speech. 

To give the sound the necessary depth and loudness, keep the lips 
slightly apart, the tongue lying loosely in the mouth; then make the 
grunt, using some vowel sound like " ah ! " fairly far back. 

To a certain extent the vocal chords will have to be contracted and 
the chin drawn slightly down into the chest. 

At first only a spasmodic jerkiness of the breath will come, but 
after a little practice " ah! " can be said quite easily, and then other and 
longer words follow as a matter cf course. 

The Old Woman's Voice 

Known as the " theek " or " rush " voice, it partakes of the nature of 
the squeaky, shrill sound produced by a reed instrument. Most people 
are gifted with the power of singing " falsetto," and the." theek " voice 
simply consists of falsetto tones somewhat exaggerated. Either the 
words " queek " or " theek " may be used for the preliminary practice, 
the latter perhaps being preferable. 

As it is not intended in these chapters to enter into a practical 
discourse on the anatomy of the throat and vocal chords, technical 
terms relating to such will be avoided as far as possible. However, 
the larynx must now be mentioned — this is the part of the throat often 
spoken of as Adam's apple, and is the convex portion of the first 
cartilage of the larynx. It is, then, this part of the larynx that has to 



VENTRILOQUISM IN A MONTH 147 

be compressed by muscular contraction in order to give the " theek " 
voice its proper quality; by a slight pressure with the hand on the 
" apple " you will realize the position which this part of the throat 
should occupy when muscular contraction takes place. 

Now, taking in a deep breath and contracting the larynx, it will 
naturally curl up the tongue, until the tip presses tightly against the 
roof of the mouth. Open the lips fairly wide and say the word 
" theek " in a high-pitched falsetto tone, sustaining the vowel sound 
as long as you can. 

Your first efforts will probably end in dismal failure, but after a 
few attempts the full sound settles down to the long drawn-out sound 
of full roundness and tone. 

Now you have acquired the " theek " voice, which is also the basis 
of the voices used with the figures of little boys and little girls. 

Very possibly your practice in the elementary stages of ventriloquism 
will result in a slight soreness of the throat. To alleviate this, and, at 
the same time, to strengthen the vocal chords, gargle with a weak solu- 
tion of salt and water, or better still, get a druggist to make up a gargle 
for you. 

Curiously enough, the mere effort of gargling is in itself a valuable 
aid to the production of ventriloquism, inasmuch as the subject is 
forced to emit sounds while the water is in the throat, and these will 
be found to possess quite a " distant " effect. 

Having mastered the " grunt " and " theek " voices, use words 
consisting of vowels, changing the words into sentences as progress 
is made. 

At this point the young ventriloquist is sufficiently well equipped to 
undertake a public exhibition of his powers, and this being so, it is 
perhaps better to make mention of ventriloquial figures before the 
remaining " near " voices are dealt with. 

As a matter of fact, the practice of ventriloquism in its earlier stages 
is not the most interesting of occupations, and not until the beginner 
awakens to the full realization of his powers — as he does only when 
he is working with automata — is the real fascination of the art felt. 

Ventriloquial Figures 

Perhaps it is hardly right to assume that every one has seen a 
ventriloquial figure; certainly many will be unacquainted with its 
peculiarities and modes of working. 

The dummy is usually a humorous representation of some gro- 
tesque character — an old man, with strongly accentuated peculiarities, 
such as a red nose, wrinkled skin, and big jaws; an old woman, with 



148 HOME FUN 

thin, pointed nose, sharp eyes, and scanty locks; a little boy grinning 
saucily, and having the appearance of possessing the wisdom of all the 
ages; the little " miss," of perky manner; the good-natured, rollicking 
black man; and the longshoreman, square jowled and cheeky. 

The one essential about the ventriloquial figure is that it shall have 
a moving mouth. In reality the chin is cut away from the face, and 





Fig. i. — Ventriloquist with knee figure. 



Fig. 2. — Working with two figures. 



the movable portion working on a pivot or string, gives the same effect 
as when a person is speaking. 

There are many different forms of ventriloquial figures, some of 
which are shown on this page (Figs, i and 2), but for the amateur the 
kind which possesses only a moving mouth is quite suitable. 

By means of a little ingenuity and the expenditure of a few cents 
a movable tuft of hair may be added to the wig, but as the working of 
this is liable at first somewhat to hamper the manipulation of the 
automaton, it should perhaps be left until proficiency is more assured. 




VENTRILOQUISM IN A MONTH 149 

The hole in the back of the head or body permits of the hand of the 
performer pressing either upon a plate or upon a circle of wire, which 
in turn moves down the movable mouth, closing automatically by 
means of a spring. Figs. 3, 4 and 5 respectively show the construc- 
tion of ventriloquial figure heads 
and another principle of ventri- 
loquial figure manipulation. 

The number of mouth move- 
ments made by the figure should, 
of course, coincide as nearly as 
possible with the number made by 
the mouth in ordinary speech; thus 
a natural effect will be gained. 

Placing a " dummy " on each 
knee, the ventriloquist opens up an 
amusing conversation. The aim of 
the figures is to destroy the effect of 
the performer's remarks by the in- 
SecTlOD terpolation of absurd interruptions. 

The whole matter resolves itself into 

A.. Spring a witty dialogue between three or 

D . Pi&1e for working rooutl;. four people, of whom the entertainer 

„; . is the central character. Such a 

ric. 3. — Showing construction of .. - , , , . , . , , , ,. 

ventriloquial head. dialogue should be brisk and sparkling 

with humor, all vulgarity being 

carefully eliminated. It is as well to write the dialogue out and learn 

it by heart. 

Ventriloquial Figure Manipulation 

Always adhere to a prearranged order of ventriloquial figures. 
If you commence your entertaining career with the old man on the 
right knee and the old woman on the left, keep to that arrangement 
all along. A change will inevitably result in putting the wrong voice 
into the wrong mouth, and the result will be disastrous. 

Bear in mind that all the while the endeavors of the figures are 
to make you appear ridiculous in the eyes of the audience, and they 
should turn all your sensible remarks into nonsensical ones, so that the 
laugh is always against yourself. Of course the audience will join 
in the laugh against you, and it is the taking of this in the proper 
spirit that will signalize your success as a ventriloquist. 

When putting words into the mouth of an automaton, its face 
should be turned towards you; inversely, whilst you yourself are 
talking the automaton should be engaged in looking curiously about 



ISO 



HOME FUN 





Fig. 4. — Construction of laughing 
darky's head. 



him at the audience, as if taking not the slightest interest in your 
remarks. Suddenly, however, he will snatch the opportunity of 
scoring off you, to the great enjoyment of his partner, the old woman. 

Immediately you have 
finished speaking in your 
natural voice, keep your 
lips absolutely fixed dur- 
ing the time the figure is 
supposed to be talking. 

It is not proposed 
here to give specimens 
of ventriloquial dialogue, 
because the humor of 
these depends so much 
upon the natural ability 
of the performer in pre- 
senting the joke or funny 
story. 

Undoubtedly the best 
plan is to form a cutting- 
book out of the tit-bits 
extracted from the humorous periodicals of the day, and to paste 
them in. In this way a voluminous collection of anecdotes, tales, 
and riddles will be made, and by a judi- 
cious combination and selection of these, 
enough material can be speedily gained 
to last months without fear of repetition. 

The most entertaining form of pre- 
senting riddles is for the " old man " or 
" little boy," whichever is being used, to 
propound them, and the entertainer to 
give some practical answer to them. The 
real point of the joke should be brought 
out by the " lay " figure, to the accom- 
paniment of considerable mirth. 

Home-made automata are not recom- 
mended, because the cost of purchasing 
really serviceable " dummies " is so small 
as not to make it worth while spending 
a deal of time and trouble, to say 
nothing of money, on their construction. Moreover, the great point 
about the " lay figure " is that it should possess a funny face, and 
such expressions are rather difficult for an amateur to obtain. 




— Principle of ventriloquial 
figure manipulation. 



VENTRILOQUISM IN A MONTH 151 

Many entertainment emporiums deal largely in ventriloquian outfits, 
and reliable " dolls " ought to be procured fully dressed for about $5 
each. 

Voice for " Little Boy " 

When a child speaks he almost invariably does so in a high- 
pitched tone, more or less directing the sound through his nose. 
This being so, the " theek " voice is the one most suitable for him. 
The similarity between it and the speech used for the " old woman " 
may be avoided by speaking in a somewhat lower tone, and in a 
simpler and more disjointed fashion. 

Suppose, for instance, that you ask the little boy a question? 
Get him to repeat that question after you, and give the answer in 
short, jerky, broken sentences. 

For the " little girl " use a slightly higher tone, without direct- 
ing the sound through the nose. In her case also the mode of expression 
must be childish, but with slightly more refinement. 

The voice for the " longshoreman " and the " darky " are both of 
the " grunt " order. For the former, the " old man " voice is used, with 
the addition of the peculiar " tough " twang; whilst for the latter, employ 
speech of a much lower and more resonant tone. 

Place the chords as when using the " grunt " voice, breathing rather 
heavily, and force the sound as far back in the throat as possible, at 
the same time contracting the muscles of the stomach while the breath 
is being expelled. 

The word "yah! yah! " is a very good one upon which to practice, 
and the vowel sound should be sustained to some length. 

The " Distant " Voices 

By this time the young ventriloquist should have attained sufficient 
proficiency in the art of manipulating " knee " figures to feel confident 
of venturing on the far more difficult and relatively more important 
" distant " voices. 

The real test of ventriloquial power is when the performer is 
capable of making sounds appear to come from a distance, i.e. so 
modify his utterances that they appear to the audience to proceed from 
some point remote both from the entertainer and from themselves. 

The basis of real ventriloquism, as apart from polyphony, i.e. 
" near " effects, is known as the " bee drone," because the first sound 
of which the vocal chords are capable when placed in the required 
position much resembles the droning of a bee in full flight. 

The " bee drone " should be practiced in loosely fitting clothing, 



152 HOME FUN 

so that neither the muscles of the throat nor of the chest are unduly 
hampered. 

From a natural, upright position, inhale in a short, jerky manner, 
making what is best described as a retching noise at the back of the 
throat. Unpleasant as the practice of this undoubtedly is for the first 
few minutes, after a short while the noise emitted will settle down to 
a softly sustained hum. The tongue should lie flat, so that the sound 
waves produced partly in the larynx and partly in the back of the 
throat are forced upwards by the action of the abdominal muscles and 
directed towards the roof of the mouth, the latter acting somewhat as 
a sounding board — modifying the sound and conveying to the ears of 
a listener some distance away a " distant " effect. 

The continuous practice of the word " ah," with the vocal chords 
in the position just described, will speedily produce the necessary 
droning quality. 

It remains now only by a contraction of the throat to regulate the 
quality of the tone and the distance from which you wish it to appear 
to come. 

From this point progress will be found rapid and satisfactory. 
The various modifications of the bee drone produce respectively, 

i. The "roof" voice. 

2. The " level " voice. 

3. The " floor " voice. 

The " roof " voice is extremely useful for illusions of all kinds, and 
perhaps is the easiest of the three to acquire. Its purpose is to make 
sound appear to come from any point above the audience, and the 
entertainer practices it at first by standing erect, taking in a deep 
breath, and then drawing backwards and downwards the lower jaw, 
holding it by muscular contraction in that position. With the lips 
about an inch apart say your words, whatever they may be, just as 
you would the "ah!" of the bee drone, concentrating your mind on 
the effort of directing the sound waves towards the roof of the mouth. 
In this case, however, exhalation should take place very slowly, while 
the speech is uttered with unusual clearness. 

The effect of the illusion, however, is destroyed if whilst using the 
" roof " voice you look either straight before you or down to the 
ground. 

The ventriloquist must bear in mind that it is important to de- 
ceive the audience, just as a conjurer does, but the former has this 
advantage over his magic brother, that the deception is both optical 
and oral. 

Let him, therefore, when " throwing his voice " to the roof, glance 



VENTRILOQUISM IN A MONTH 153 

sharply upwards as soon as the words are uttered, and turn his head 
in a listening attitude; his example will be followed immediately by 
the audience, who naturally fall into the trap prepared for them, and, 
for the time being, are quite satisfied that the sounds do really come 
from the roof. 

This is an advantage on which the ventriloquist can trade to an 
enormous extent, because the ear is so easily deceived. How difficult 
it is, when listening from within a closed room to a street organ play- 
ing outside, to tell whether the music comes from up or down the road. 
So with ventriloquism — the performer has but to modify the position 
of the vocal chords as indicated, and to fix his eyes upon the roof, 
when lo and behold! everybody is perfectly satisfied that the speech 
does come from above. 

" Level " Sounds 

Of the three " distant " voices, the " level " is, perhaps, the most 
useful and the most generally successful, because the mere fact of the 
entertainer being on the same plane as the door and the windows, 
from behind which people are supposed to converse with him, pro- 
vides him with opportunities for using the facial muscles and for 
distorting sounds, and so heightening the illusion. 

For instance, whereas he must turn full or three-quarter face 
when using the " roof " voice, he can carry on a dialogue on the 
"level," sideways to the audience; or in the case where the stage 
possesses a door at the rear, he may often be permitted for a moment 
to turn his back. 

Practice as before in the " bee drone " voice, without endeavoring 
to any great extent to shut off the sound in the throat. This may be 
done by curling up the tongue so that its tip presses against the back 
of the upper teeth. 

If you are practicing by the side of the door, as you open it towards 
you the ventriloquially uttered sounds must be raised in tone and made 
more distinct by lifting the shutter from the throat, or, in other words, 
by allowing the tongue to resume its normal position, and the sounds 
to issue forth on the principle of the " bee drone." 

The " Floor " Voice 

This voice is extremely useful for such illusions as " the man in the 
cellar attending to the gas meter," &c. It calls particularly for a display 
of histrionic -powers, and the mere fact of bending down, as the sounds 
appear to come from below, helps to give it the necessary subdued and 
" distant " effect. Whilst speaking very slowly in the " bee drone " 



154 HOME FUN 

thrust the chin forward, contracting the larynx as much as you possibly 
can; roll back the tongue to stifle the sound in the throat, and the 
illusion will be complete. Immediately you change from the " floor " 
to the natural voice, resume the standing position and speak with 
unusual distinctness. The contrast cannot fail to escape the notice 
of the. audience, who will be quite convinced that you have indeed 
carried on a conversation with some one below. 

Ventriloquial Imitations 

Although imitations can hardly be classed under the heading of 
pure ventriloquism, yet they may be pressed into the service of the 
entertainer to promote variety in his performance. They serve, too, 
another very useful purpose, inasmuch as they provide a relief from 
what must inevitably prove a strain on the vocal chords. As has 
already been said, ventriloquism necessitates the placing of the vocal 
chords in a somewhat unnatural position, and the result is that the 
exponent, particularly in the early stages of the work, is apt speedily 
to become tired. 

As a break between an exhibition of " near " ventriloquism — that 
is, with the automata — and an exposition of distant effects, one or 
two vocal or instrumental imitations will prove welcome both to the 
entertainer and the entertained. 

A witty person once remarked that the secret of success lies not so 
much in what you can do, as in what you can induce other people to 
think you can do. In other words, a little knowledge in the hands of 
a ready-witted and competent ventriloquist can be turned to great 
advantage and become a valuable asset in his undertakings. For 
successful imitations, self-confidence is perhaps of even greater im- 
portance than the possession of real ventriloquial powers. Self-con- 
fidence is a trump card that the ventriloquist should always hold in his 
hand, because it will take all the tricks. Success is impossible without 
it, and easy with it ! 

Perhaps there are few branches of entertaining in which self- 
assurance is so necessary as in ventriloquial mimicry. The border-line 
between a successful imitation and a ludicrous failure is oft-times so 
narrow, that a sensitive soul would soon be disheartened. 

The only difference between the efforts of the ordinary and the 
ventriloquial mimic is that the latter, when giving expression to sounds 
vocally produced, should place the chords in the same position as for 
the " Dee drone " and the " distant " voice. 

A very good study is that of a hen as she cackles immediately 
before laying an tgg, and again after having done so. You will notice 



VENTRILOQUISM IN A MONTH 155 

that the first sounds are mostly of a guttural nature, and they should 
come from well back in the throat, starting moderately high and descend- 
ing four or five notes. Of course the lips will have to be kept slightly 
opened, and for the final jubilant crow considerably extended. To 
avoid the necessary facial movement, it is as well when uttering the 
" crow " to turn sideways to the audience. Again, while the first note 
of the cackling should be loud, the successive notes grow quieter. 

A Dog Fight 

An imitation of a dog fight will form a spirited item in your pro- 
gramme. By your actions you may suggest, for instance, a small 
cur yapping vigorously until a larger and more ferocious animal 
endeavors to quiet him. 

To produce the higher notes of the dog-bark, the falsetto or 
" thick " voice must be used, while the deeper guttural tones already 
explained for use with the " darky " serve for the larger dog. 

It is a little difficult to intersperse the two sets of sounds without 
expressing facial contortion, but you may obtain for yourself a certain 
amount of license by pretending that the dog fight is taking place 
beneath a covered table, behind which you may stoop in your supposed 
endeavors to stop the tumult. 

It is but natural to turn from dogs to cats. Whereas you have 
just given an imitation, perhaps, of a fierce duel, your next effort 
should endeavor to portray a feline courtship. This should be made 
as funny as possible. The lady's " marr-rr-ows " and " mia-a-a-ows " 
are easily copied after you have been kept awake a night or two 
listening to the genuine article, whilst the deeper tones of Mr. Tom 
are included in the repertory of every well-educated schoolboy. 

The mouth should be kept fairly wide open and a kind of sideways 
motion given to it, whilst the cry should be drawled until the lips form 
for the final " ow." The spittings and growlings necessitate the 
bringing together of the lips and teeth, a freedom which your audience 
on this occasion must permit you. The doleful moans with which 
our feline friends endeavor to solace one another can be produced by 
making the mouth very hollow, the lips into the form of a large O, 
slowly contracted to a very small one. 

For the die-away, distant effect, moaning more or less in the throat 
must be resorted to. The finale can consist of a number of fierce 
spittings and growlings, suddenly interrupted by an unmistakably 
human voice (your own) " shoo-ing " the night visitants away. 

A variation can be made by giving an imitation of pouring out a 
glass of wine. To produce the illusion of drawing the cork from the 



156 HOME FUN 

bottle, turn slightly round, thrust the forefinger into the mouth against 
the cheek, close the lips around the finger, slowly bring the end of the 
finger round inside the cheek, and force it smartly out through the lips. 
The result will be a loud pop. By moving the tongue from the back 
of the mouth quickly backwards and forwards, making it strike against 
the inside of the gums, the " glug, glug " of the wine being poured out 
will be plainly heard. 

The Lion and the Cow 

Under the cover of a screen, the roaring of a lion is simple of 
accomplishment. Use an ordinary lamp chimney, and give vent to a 
series of deep-throated roars from this. The effect will both be 
natural and startling. With the same instrument the deep lowing of 
a cow can be perfectly imitated, the lips producing the familiar " moo," 
the sound being gradually drawled through the glass chimney. 

To copy a saw at work is quite easy. Get a ruler, or some similar 
article, to represent the saw, and draw it backwards and forwards as 
though cutting a piece of wood. The sound is best made by clenching 
the teeth, placing the tongue a little forward between the upper and 
lower teeth, quickly inhaling and exhaling the air. The resultant noise 
will be an exact imitation of the saw cutting its way through the 
wood. 

Quite an effective item is the ascent of a rocket. By .blowing hard 
through pursed lips, and striking the mouth rapidly with sharp little 
blows with closed fingers, the curious sound of an ascending rocket 
may be reproduced with perfect fidelity. This slowly fades away, 
there is a moment's pause, and then the final pop as the stars burst. 
Naturally such an imitation should be performed in the shelter of 
the screen. As a last example, an imitation of the itinerant knife- 
grinder may be attempted. Keep the lips and the teeth closed to 
produce the rasping up and down of the steel upon the grindstone, 
the while working an imaginary treadle with the right foot. 

The Complete Entertainment 

By this time the young ventriloquist should have at his command 
both " near " and " distant " voices and imitations. It only remains to 
say a few words regarding the manner of giving an entertainment. 

Although smart dialogue is very entertaining, it is apt, after a little 
while, to pall; and to obviate this it will be found well to introduce 
an occasional song or comic recitation. In both cases these may take 
the form of parodies, but in the former a serious song really well sung 
by the ventriloquial figure will evoke both admiration and applause. 



VENTRILOQUISM IN A MONTH 157 

Those not possessed of particularly good vocal qualifications may 
feel that the singing of a song successfully is beyond their capabilities. 
They should, however, bear in mind that nothing like " finish " or 
cleverness in execution is expected from a wooden figure. One or 
two verses and the chorus are quite enough to venture upon, as singing 
ventriloquially is extremely tiring. 

The best time to introduce a song is when dialogue between 
yourself and the automata has been in progress for seven or eight 
minutes. Either the little boy or the old man or the old woman can 
essay to try his or her skill as a vocalist, or the affair may be com- 
petitive. Much amusement may be caused by the little boy extolling 
his own skill as a vocalist, and- the darky challenging him. To settle 
the matter, let one sing the first verse of a song and the other the 
second, the little boy making a terrible hash of his part of the per- 
formance. If his mistakes are greeted with groans of derision from 
the old man, or cries of horror from the old woman, the audience will 
be immensely pleased. 

While the song is in progress, the ventriloquist should look about 
him unconcernedly, feigning total disinterestedness in the affair. 
Towards the end of the song he may glance sharply once or twice at 
the singer and applaud him for his effort, which applause it is to be 
hoped the audience will generously supplement. 

It is not intended that these few observations on the art of ven- 
triloquism should be taken as covering all the ground over which this 
fascinating subject spreads. Enough has been said, however, to show 
any one who is sufficiently interested how to give a really pleasing 
drawing-room performance which shall earn for him the reputation of 
being quite a creditable exponent of the wondrous and mystifying art 
of Valentine Vox. 



CHAPTER XX 

CONJURING FOR ALL 



Magic Memorized 

It is said that at some period of his life every boy becomes stage- 
struck, and it may be averred with equal truth that sooner or later 
every boy is seized with a desire to become a conjurer. 

Considering the fascination to old and young alike of a conjuring 
entertainment, this is not to be wondered at. But when the would-be 
conjurer begins to realize the years and years of practice necessary 

before he can accomplish his de- 
sire, he soon despairs; and instead 
of proudly mounting the platform 
as an entertainer, he finally satisfies 
himself by humbly occupying a 
chair as one of the entertained. 

It is the purpose of this chap- 
ter, however, to set forth a com- 
plete conjuring entertainment in 
such a manner that anybody can 
easily learn and perform it, in pre- 
cisely the same manner as they 
would memorize and deliver a reci- 
tation. 

Before proceeding with the 
tricks themselves, it will perhaps 
be advisable, for the sake of the 
uninitiated, briefly to describe how to fit up a handy conjuring table. 
Procure a small wooden box about six inches deep and one foot in 
length and width, and stand it in the center of a small gypsy-table. 
Then artistically drape one or two flags, or a brightly-colored cloth 
over it (Fig. 1). 

It will be noticed that a portion of the table at the back of the 
box is left vacant. This, in the dialect of the profession, is known 
as the servante. It is used for secretly disposing of objects during the 
performance. 

158 




Fig. 1. — A handy conjuring table. 



CONJURING FOR ALL 159 

The magic wand simply consists of a decorated circular stick about 
ten inches long. 

Each trick will be dealt with in three separate parts. The first 
will describe the illusion from the point of view of the audience; the 
second will explain the apparatus required ; and the third the " patter " 
accompanying each trick. 

Presentation. — As seen by the audience, the first trick is as follows : 

Two ping-pong balls are lying upon the table, and the conjurer 
requests a member of the audience to choose one. This having been 
done, the performer picks up the selected ball and commences 
gently rubbing it in the palms of his hands, when to the amazement 
of the audience, the ball is seen to change into a couple of handker- 
chiefs ! 

The conjurer places one of these upon the table, and proceeds to 
wrap up the other in a piece of pink paper. Blowing out a candle 
which has been standing in a candlestick upon the table, the per- 
former wraps that also into a similar parcel, using white paper instead 
of pink. 

He next places the two parcels at opposite ends of the table, in 
full view of the audience. After making one or two passes with the 
magic wand, the conjurer picks up the parcel containing the candle. 
He then tears it open, when it is found to contain the handkerchief. 
Upon the remaining parcel being examined the candle is discovered 
within it. 

Apparatus required. — (1) Two ping-pong balls. A large hole must 
be bored in one by means of a penknife. 

(2) Three small silk handkerchiefs. Two of these should be stuffed 
into the prepared ball through the hole. Both balls must then be 
placed upon the conjuring table— the hole in the prepared one being 
turned away from the audience. 

(3) An ordinary candle wrapped in a piece of pink paper, and con- 
cealed in readiness on the servante. Another piece of pink paper and 
a piece of white should also be ready at hand. 

(4) A " false " candle. This is made by gumming a piece of white 
paper into the form of a cylinder, and sticking a slice from a real 
candle in one end. The third handkerchief must be stuffed into the 
"false" candle (Fig. 2), which should then be placed in a candle- 
stick. From a short distance it will be impossible to distinguish this 
candle from the genuine article, and the effect will be considerably 
heightened by the candle-end being lit. 

Patter. — The conjurer comes forward to the front of the platform 
and delivers himself somewhat after the following: — 

" Ladies and gentlemen — you will observe upon my table two 



i6o 



HOME FUN 



ping-pong or table-tennis balls. They are quite innocent-looking, 
and although in appearance they somewhat resemble eggs, will not be 
found half so deceptive. Will some lady or gentleman kindly select 
one?" 

If the ball containing the handkerchief is selected the conjurer 
picks it up and proceeds with the trick. Should the other be chosen, 
however, it makes no difference. The entertainer 
simply hands it to the person who has made the selec- 
tion, and remarks : " Very well. Would you mind 
taking the ball you have chosen and examining it ? " 
Upon the person complying with his request, the con- 
jurer picks up the remaining ball — the prepared one — 
and continues with the trick. 

"Ladies and gentlemen," he says, slowly rubbing 
the ball between the palms of his hands, and carefully 
extracting the first handkerchief from its interior (a 
simple effort in sleight-of-hand, quickly acquired), " we 
will now see what effect a little friction has. Ah! 
Something is happening already! " 

The performer allows the second handkerchief to 

stream forth, and then gradually opens his hands, 

taking care that one of the handkerchiefs completely 

covers the ball and hides it from view. He then 

Fig. 2.— False can- l a y s the handkerchief sheltering the ball carelessly upon 

die containing the table. If this is done in a natural manner, the 

audience will not have the slightest suspicion that it 

covers anything at all. Holding the remaining handkerchief up to 

view, he continues : 

" We will now see whether this inherits any of the marvelous 
properties of the ball from which it was produced. I have here a 
piece of paper." (Holds up the red paper.) "It contains neither 
trap-doors, hidden mirrors, nor other mechanical contrivances. The 
reason for my using pink paper is that it insures the trick being per- 
formed to the pink of perfection. I will now proceed to roll up the 
handkerchief in the paper." 

This is done, the performer taking care to make the parcel exactly 
similar in shape to that of the candle on the servante. During the 
wrapping-up process, however, he carelessly drops the parcel on the 
servante. With a muttered excuse for his clumsiness, the conjurer 
again resorts to quickness of the hand, and picks up the parcel containing 
the candle. The very audacity of this movement will effectually keep 
the audience from suspecting that a substitution has been effected. 

" I will now take this candle and wrap it in the piece of white 




CONJURING FOR ALL 161 

paper I have here. By the way, can any one tell me what nobleman could 
very well be represented by a burnt-out candle? No one? Why, the 
Earl of Wicklow! " (He blows out the " false " candle and wraps it in 
the white paper.) 

" You see I have now two parcels — the pink one containing the 
handkerchief, the white one containing the candle. I will place them 
at opposite ends of the table, and make a few passes with my magic 
wand." 

The performer waves the wand a few times. Then, seizing the 
packet containing the " false " candle, he rips it open, thus tearing the 
paper cylinder, and revealing the handkerchief. The small wax candle- 
end will escape observation amongst the torn paper, and the audience 
will be under the impression that the candle has changed to a 
handkerchief. 

" Will a gentleman kindly step forward and examine the remaining 
parcel?" (Upon the examination being made it is found, of course, 
to contain the candle.) "What! The handkerchief and candle 
appear to have disagreed with the quarters I originally allotted them, 
and have changed places ! I think you will agree with me that this 
little experiment has terminated in a very interesting manner. I 
think you will also agree that I have not once attempted to deceive 
you, as the whole of the experiment was conducted before your 
very eyes." 

The second trick might very aptly be entitled 

The Dye- Works 

Presentation. — The conjurer hands round for inspection a small 
sheet of white paper. Upon its being returned, he rolls it into a cylin- 
der. Taking a couple of red silk handkerchiefs from the table, he 
proceeds to poke them into the tube by means of the magic wand. 
He continues to force them down until they at length make their 
appearance at the other end. During this short passage through the 
tube, however, an astonishing transformation has ensued. Instead of 
the handkerchiefs being red, one emerges a deep blue and the other 
yellow! Yet upon the roll of paper being passed round for inspection 
it is found to be perfectly empty. 

Apparatus required. — (i) Two red, one blue, and a yellow silk 
handkerchief. 

(2) A sheet of stout white paper about six inches long by five wide. 

(3) A small cardboard tube about three inches long and an inch 
and a half in diameter. A section cut from an ordinary postal tube 
will do admirably. 



162 



HOME FUN 



A small bag of yellow silk must be sewn by its edges to the 
interior of this tube (Fig. 3). The yellow handkerchief should next 
be stitched by its center to the bag, as is shown in the same dia- 
gram. This done, both the yellow and blue handkerchiefs must be 
forced into the cardboard tube until they are completely hidden. 
There will be no difficulty in doing this, as silk can be made to occupy 

a very small space. The bag, of course, will 
prevent the handkerchiefs coming out at the 
other end. 

The cardboard tube and its contents should 
then be placed upon the table, and the two red 
handkerchiefs laid carelessly over it in order to 
obscure it from the view of the audience. 

Patter. — " I have here an ordinary sheet of 
white paper. I intend, however, to turn it to a 
rather extraordinary purpose; in fact, to manu- 
facture with it a dye-works ! 

" I first roll the paper into a cylinder — so. 
Please notice that I do not attempt to insert any- 
thing as I do so." 

The performer rolls up the paper, taking care 

to make it sufficiently large to admit the little 

Fig. 3.— Cardboard tube cardboard tube. 

with silk bag and hand- " I have also two red silk handkerchiefs. 

Every lady present to-night will know how very 

difficult it is to dye anything that is red. Nevertheless, I am going to 

put these handkerchiefs down my dye-works' chimney." 

He picks up the handkerchiefs — with the tube still hidden in them — 
and apparently attempts to poke them into the cylinder. In reality, 
however, he only inserts the cardboard tube, and then pauses, as though 
in doubt. 

" Well, ladies and gentlemen, it appears as if I haven't built my 
dye-works large enough to receive both handkerchiefs together. I think 
it will be advisable, therefore, to insert them singly." 

The conjurer proceeds to place first one and then the other 
handkerchief in the tube. Then, taking up his magic wand he rams 
them well clown. This has the effect of forcing them both into 
the small cardboard tube, thus liberating the blue and yellow hand- 
kerchiefs. 

" Ah ! I see that one of the handkerchiefs is issuing from 
the basement of our dye-works. And the color has been altered dur- 
ing its journey ! Here comes the other straight from the mangle, 
and, as you will observe, it is now dyed yellow. The dye-works 





Fig. 4. — Handkerchief covering small cardboard tube 
drawn from cylinder. 



CONJURING FOR ALL 163 

has proved most successful. In fact, I believe that if I'd inserted a 
third handkerchief it would have come out folded and ironed ! " 

So saying, the conjurer takes the yellow handkerchief by its 
middle and draws 
it from the paper 
cylinder. The 

cardboard tube, 
with the red hand- 
kerchiefs safely in 
it, will, of course, 
be drawn out at 
the same time. 
The folds of the 
yellow handker- 
chief, however, 
will completely 
hide it (Fig. 4). 
The conjurer then 
throws the paper 
cylinder amongst the audience, with the remark — 

" There you are, ladies and gentlemen. As I am of a philanthropic 
nature, I will let you have my dye-works free of charge, with full 

permission to make whatever use you 
like of them." 

The third trick may be called 

The Dissolving Coin 

Presentation. — The conjurer, 
standing a glass of water upon his 
table, borrows a quarter, and ^places 
it in the center of a loaned handker- 
chief. He then requests a mem- 
ber of the audience to hold it 
over the glass so that the folds of 
the handkerchief hang around it 
and completely hide it from view 

(Fig. 5)- 

The performer next asks the per- 
son holding the coin to let it drop 
into the water. He does so, and the audience hear it tinkle as it strikes 
the bottom of the glass. But when the handkerchief is removed, the 
quarter has disappeared! 




Fig. 5. — The dissolving coin. 




Fig. 6. — Quarter found inside the orange. 



164 HOME FUN 

A dish containing a number of oranges is standing upon the table. 
The conjurer picks up a knife and plunges it into one. Passing it to 
a member of the audience, he requests him to cut it open. Upon this 
being done the quarter is discovered embedded in the center of the 
fruit (Fig. 6). 

Apparatus required. — (1) A glass of water. (2) A silver quarter. 
(3) A watch-glass the size of a quarter. One can be purchased for 
five cents from any watch repairer's. (4) A dish of oranges. A small 

cut must be made in one of 
them, and the quarter forced 
into the incision. The pre- 
pared orange should then be 
replaced upon the dish, care 
being taken that its position 
is remembered. 

Patter. — " It is always a 
conjurer's duty, during some 
part of his entertainment, to 
borrow. The time is now 
ripe for me to perform that 
pleasant duty. Will some 
one kindly supply me with a quarter and a handkerchief?" 

As the performer walks amongst the audience to obtain the hand- 
kerchief, he secretly takes the watch-glass from his waistcoat pocket — 
where it has been placed in readiness. As he returns to his table with 
the handkerchief and the coin, and whilst his back is to the audience, 
he must again resort to sleight-of-hand and substitute his watch-glass 
for the coin, which can either be slipped into his waistcoat pocket, 
or dropped surreptitiously on to the servante. The performer then 
faces the audience, holding up the watch-glass instead of the coin in 
the center of the handkerchief. 

" I have placed the quarter in the handkerchief, and should now 
like the assistance of a young gentleman. 

" Thank you, sir. Would you mind holding this coin over the 
glass and let it fall into the water when I count three? Thank you! 
One — two — three ! You're sure you dropped it ? Well, will you please 
remove the handkerchief, thus taking the quarter from the water." 
(The watch-glass, being transparent, will be invisible at the bottom 
of the glass, and the assistant will immediately declare that the coin 
has vanished.) 

" It's gone, you say ? That's rather awkward for the gentleman 
from whom I borrowed it. But perhaps you'd like to pay him back 
yourself? You strongly object! Well, I must see what I can do?" 



CONJURING FOR ALL 



165 



The conjurer walks over to the dish of oranges. 

" In order to see how this trick is done, ladies and gentlemen, you 
must keep one eye upon me, one eye upon that dish of oranges, and 
the other upon the gentleman who is assisting me. What's that ? You 
haven't three eyes? I think you are mistaken. First there's your 
right eye; then there's your left eye; and your nect(eye)ie makes the 
third." 

The performer then plunges a knife into the prepared orange and 
hands it to his assistant. 

"Would you mind cutting that in half?" (Upon doing so the 
young gentleman will, of course, find the coin embedded in the fruit.) 
" You have found the missing coin in its center ? I consider 
it rather clever of me to purchase for a few cents oranges that 
grow quarters. Would you mind returning the coin to its owner; 
and I must thank you for the very able assistance you have afforded 
me." 

The next trick may be called 

The Watch and Target 



Presentation. — The conjurer borrows a watch from a member of 
the audience and wraps it in a piece of paper. He next places 
it in the muzzle of a 
pistol, and then stands 
a target upon the 
table. Handing the 
pistol to a gentle- 
man in the audience, 
the performer re- 
quests him to fire at 
the target. There is 




Fig. 7. — Conjuring pistol, showing flanged cap. 



a loud report, and — hey, presto! — the watch is found swinging in the 
center of the target ! And upon the paper parcel which contained 

the watch being removed from the pistol's 
muzzle it is found to be perfectly empty. 

Apparatus required. — ( 1 ) A piece of paper 

in which to wrap the borrowed watch ; and 

a second piece of the same size and color. 

This must be folded to create the impression 

that it contains a watch. 

(2) An ordinary toy pistol. This must be taken to a tinsmith, in 

order to have a tin muzzle of the shape shown in Fig. 7 soldered to 

the barrel. It will also be necessary for the tinsmith to make another 




Fig. 8.— Cup or pan to fit 
into muzzle of pistol. 



1 66 HOME FUN 

very important addition to the pistol. It consists of the little pan 
illustrated in Fig. 8. This pan fits into the muzzle. But in order 
that it may not sink down too far, and can be removed easily, a flange 
must be made round the edge, as shown in Figs. 7 and 8. Before com- 
mencing the trick, the piece of paper folded into the shape of a watch 
must be placed inside the muzzle, and the tin pan 
fitted into position on top of it. 

(3) A target (Fig. 9). This target, as might 
be anticipated, is not so simple as it looks. The 
"bull's-eye" at the center must be cut completely out 
with a fretsaw, and then replaced again on the two 
pivots (B B, Fig. 10). A small wooden clip should 
next be fixed in the position illustrated by C, and 
a piece of elastic fastened to the " bull's-eye " 
at A, and stretched to the 
other side of the target. 
It will now be ob- 
served that the tendency of 
the elastic is to make the 
"bull's-eye" revolve upon 
its pivots. The wooden 
catch C, however, pre- 
vents this happening. 
The catch is secured to the target by a 
single nail or screw, in precisely the same 
manner as the " button " is fixed to an ordi- 
nary cupboard door. A piece of black thread 
must be fastened to one end of the catch, and 
carried down behind the target through a 
series of hooks made from bent pins (D, 
Fig. 10). 

A pull at the thread thus causes the 
wooden catch to release the " bull's-eye," which 
will instantly be forced round upon its pivots 
by the elastic, and show the other side : — which 
must be similarly painted with rings — to the 
audience. To complete the target, drive a 




Fig. 9. — Showing front 
of target. 





Fig. 10. — Back of target with 
revolving center. 



small hook into the center of the bull's-eye." 
The finished article must then be placed behind 
a screen in readiness for the performance. 

(4) Lastly, a small piece of black elastic should be sewn across 
the V-shaped opening at the bottom of the conjurer's waistcoat, as 
shown in Fig. 11. This keeps the bottom of the waistcoat perfectly 



CONJURING FOR ALL 167 

tight, thus making a handy receptacle for any article the performer 
may poke up it out of sight. 

Patter. — " Ladies and gentlemen — I was so successful in borrow- 
ing for my last trick, that I am encouraged to be a little less 
timid in my requests. Will some gentleman kindly lend me his 
watch? Thank you, sir! I may muddle up the wheels a bit 
during my experiment; but I suppose you don't mind that, pro- 
vided the watch looks all right when I 

return it? Now, sir, would you mind ,-^ |\^ 

wrapping your watch up in this piece of f"'' \ // *>•*„ 

paper. / / ^ s / N ^ 

Whilst the lender of the watch is / K \ (o \ / \ 

engaged in wrapping up his property, the j j \ N \ \ \/ / J 
conjurer walks to the table and returns . q\ \° |C / 

with the pistol in his hand. He then ^ I. I | / 

takes the parcel from the gentleman, and \ I I | \ 

apparently places it in the muzzle. In * ' 1 I*" ( 

reality, however, it is put only into the j ' 10 I \ 

small pan. / , °'£j~ \ \ 

The performer turns round, and /s. / l"J^ , 

walks towards his table. Holding the f q * \ ~ 

pistol well into the body so that it is / . ■ t 

completely screened from the audience, \^ / \ ^s 

he quickly places his right hand over 

the muzzte, and grips the flange with Fig. ii.— The elastic at A will be 
1 • ,, * , ,./f 1 r T ^ • ^1 found invaluable to the young 

his thumb and little finger. It is then conjurer. 

only the work of a moment to lift the 

pan and its contents from the pistol, and poke it under his waistcoat. 

As the performer's back is to the audience, these rapid movements 

escape observation. 

Upon reaching the table the conjurer lays down the pistol, faces 
the audience, and says : 

''' Well, now that I've got my ammunition, I suppose I'd better get 
a target." 

He retires behind the screen sheltering the target. Hastily taking 
the pan from his waistcoat, he tears the watch from the paper, and 
hangs it upon the hook on the reverse side of the " bull's-eye." Then, 
returning to the platform, he places the target upon the table, and 
taking up the pistol, says : 

" Will the gentleman who lent me the watch kindly take this pistol 
and fire at the target when I count three? " (Upon taking the pistol 
the gentleman will see the second piece of paper in the muzzle, and 
imagine that it contains the watch.) "Are you ready? One! — I hope 



1 68 HOME FUN 

you are a good shot. Two! — Mind you don't hit me instead of the 
target. THREE!" 

As he utters the last word the conjurer pulls the thread, and simul- 
taneous with the report of the pistol, the " bull's-eye " flashes round and 
reveals the watch hanging to its center. 

Of course the thread must be sufficiently long to permit the per- 
former to stand a short distance from the target. Against a dark back- 
ground the thread will be quite invisible to the audience. 

Upon the second parcel being examined it will, of course, be found 
quite empty. 



CHAPTER XXI 

SOME KNOTTY POINTS 



Secrets of Handkerchief Manipulation 

The following explanations are intended to provide the beginner with 
the knowledge necessary to perform a few of the simple but neat 
tricks which can be done 
with no other apparatus 
than a handkerchief. For 
a short turn or " gag " 



Fig. i. — Handkerchief twisted for the performance. 



these tricks are effective and useful, whilst their very simplicity renders 

a quick return for the little trouble required 
to learn them. 

A good-sized silk handkerchief must be 
procured. Before making any of the knots 
it should be twisted like a rope (Fig. 1). Be- 
ing of silk, the handkerchief will not untwine 
easily. 

The One Hand Knot 

This knot is very simple to make. Hold 
the handkerchief, bent double, across the right 
hand (Fig. 2). Now, suddenly drop the hand, 
letting the fingers pass over the end, A, and 
catch the end, B, at the point, C, between the 
first and second fingers. Let the remainder 
of the handkerchief slip off the hand, giving 
it a sharp flick, which will tighten the knot 
already loosely formed. 

Practice constantly until the whole move- 
ment can be done very rapidly. To the 
spectators it will appear as if you have sud- 
denly flicked the handkerchief into a knot, and 
Fig. 2.— The one hand knot. the effect will be striking. 

The Wrist Knot 

Stretch the handkerchief between the finger and thumb in both 
hands, as in Fig. 3. Cast a loop towards the left hand, taking care 

169 




i 7 o HOME FUN 

that it is thrown outwards. As the loop is made, the left hand, still 
with the end of the handkerchief between finger and thumb, is passed 




Fig. 3. — The wrist knot. 

smartly through the loop from the outside — shown by the dotted lines 
in the illustration. 

This loop is now loosely round the left wrist, and the knot can be 
made taut by pulling the ends with both hands. The instant it is 
drawn tight let go of the ends of the handkerchief, and the result will 
be that a simple twitch of the right hand has seemed to tie a knot 
firmly round your left wrist. 

The Double Bow 

This very pretty trick can be accomplished by making a double 
bow with a rapid turn of the hands. 

Hold the twisted handkerchief in both hands, as shown by Fig. 4. 
The two hands are marked L and R — i.e., left and right respectively. 




L R 

Fig. 4. — The double bow. 

Now bring the right hand round and past the left, as indicated by the 
dotted lines, and nip the handkerchief at the point A with the first and 
second fingers of the right hand. 



SOME KNOTTY POINTS 171 

By doing this you have naturally brought the point B opposite the 
first and second fingers of the left hand, between which it should be 
similarly nipped. During all these movements the remaining fingers 
and thumbs of each hand should retain their original hold on the 
handkerchief. 

Having now taken hold of both the points A and B, straighten 
your hands and pull apart, still retaining the hold of the first and 
second fingers. As a result you will find the' handkerchief tied in a 
double bow, which, if the movements have been done quickly and 
well, will seem to have been accomplished by some strange effect of 
magic. 

The Instantaneous Knots 

These knots can be made at each end of the handkerchief by the 
following method. Hold the handkerchief in the position shown in 
Fig- 5> where it appears lying over the third and fourth fingers with 




Fig. 5. — Instantaneous knots. 

the two ends, A and B, hanging beyond the thumbs. The movements 
are done in the same way and simultaneously with both hands, and 
it will therefore suffice to describe the action of your right hand. 

Bring the first and second fingers (1 and 2, Fig. 5) over C, catch- 
ing hold of the end, A, behind the wrist. This will be easy after a few 
attempts, but you must be careful to see that the end A is of fair length, 
otherwise the trick will be impossible. 

Now bring the end A up through the resulting loop by means of 
the two fingers. The consequence will be a knot in the end of the 
handkerchief. Your left hand has, meanwhile, been doing the same 
thing and with equal rapidity, so that it will appear to the spectators 
that, by a sudden flash of the hands, you have formed two tight knots, 
one at each end of the silk. 



172 



HOME FUN 



A Flick Knot 

Hold the handkerchief stretched between your two hands in the 
manner shown in Fig. 6 — that is, inside the first and second, and out- 
side the third and fourth fingers of each hand. 




Fig. 6.— A flick knot. 



Give the left hand a half turn, as in Fig. 7, thus enabling the first 
and second fingers of the right hand to grip the end A, whilst at the 




Fig. 7. — Second stage of the flick knot 



same moment the thumb and third finger of your left hand catch hold 
of the end B. 

Slip free the fingers of the left hand, excepting those holding the 
handkerchief, and you will find a loosely made knot. A smart flick of 
the right hand will now complete the trick, and if you have done all 
this very rapidly none of the movements will have been noticed by the 
audience. 

The Disappearing Knot 

The foregoing remarks have dealt entirely with making knots in 
the handkerchief. By following the instructions now given you will 
be able to make a knot disappear entirely. 



SOME KNOTTY POINTS 173 

Take two differently colored handkerchiefs — red and white, for 
instance, and cross them, as in Fig. 8. Now make a simple knot 
similar to that shown in Fig. 9. By laying D over C and making 





Fig. 8. — Colored silks for disappearing 
knot. 



Fig. 9. — Simple knot for 
disappearance. 



another simple knot, as in Fig. 10, the red end will appear on the 
left, whilst the white end will be on the right. This is called a 
Grannie's knot. 

It is now plain that if you take hold of 
each end of the red handkerchief it can be 
pulled quite straight and entirely free of the 
turns so closely resembling a genuine knot. 
Heighten the deception, however, by seiz- 
ing the end D and the bulk of the red 
handkerchief and pulling them with all 
your strength. The knot will now appear 
to have been tied most securely. 

Take several handkerchiefs and tie 
them in the same way, making apparently 
a well- fastened rope to be exhibited to 
the spectators. Bunch them all together 
on a table, and under cover of the folds 
pull all the ends free, exhibiting as a 

result a number of separate handkerchiefs, not one of which has a 
knot of any description. 




Fig. 10. — Grannie's knot. 



CHAPTER XXII 

BLACK STAGE MYSTERIES 

A Wily Worker of Wonders 

The best method by which to advocate the " black stage " as a means 
of entertainment, will perhaps be to describe one of the many illusions 
that can be produced with its aid. 

The audience first witnesses the performer — who is generally made 
up as a Chinaman — and a young lady dressed in white, standing in the 
center of a small " black stage," as shown in Fig. i. 

The performer then throws a white cloth over the lady's head. 
Without a moment's pause he draws it away again, and — hey, presto! 




Fig. i. — The floating head. 

— the lady is headless! The Chinaman next takes a larger cloth, and 
holds it before the lady in such a manner that she is entirely hidden 
from the spectators. A second later, however, he drops the cloth 
to the ground. This time the audience is treated to the spectacle 
of the head of the lady floating in the air. More wonderful still, the 
head can speak, sing, and answer any questions that may be put to it. 

174 



BLACK STAGE MYSTERIES 175 

After a while the illusionist picks up the cloth, and holding it 
before the head, once more cuts off" the view of the spectators. Upon 
its being drawn away for the third time, nothing whatever is visible — 
even the mysterious head has vanished. But when the cloth is 
held up again and withdrawn, the young lady — in her entirety — 
appears, and after bowing to the audience, walks unconcernedly off 
the stage. 

Almost every well-known conjurer has stated at one time or an- 
other that the secret of his success may be summed up in the one word — 
practice. But there are very few young ladies who would have either 
the courage or the ability to practice being decapitated. The ordeal 
might prove a trifle too exciting. However, they may pass through 
it without fear if the following method, given in explanation of the 
illusion, be adopted. 

The interior of the stage must be fitted throughout with black 
cloth. The lights in the room are lowered, the only illumination of 
any brilliance being a row of candles or lamps, at the side of the stage. 
These are equipped with tin reflectors, so that the light, instead of 
shining on the stage, is projected into the eyes of the audience. The 
effect of this is that, whilst any white object can be seen quite plainly 
by the spectators, everything black remains invisible. 

When the performer envelops the young lady's head in the white 
cloth, he at the same moment throws over her a piece of black material 
of similar size and shape, attached to it by one corner. When he 
removes the white cloth, however, he allows the black cloth to remain, 
thus veiling the head and apparently causing it to disappear. 

Another and larger piece of black material is similarly hidden in 
the folds of the second white cloth. Directly the performer spreads 
this before the lady assistant, so that she is hidden from the audience, 
she rapidly pulls off her head-veil, and taking the large black sheet, 
muffles herself in it up to the neck. Consequently only her head 
remains visible. In order to disappear entirely, it is only necessary 
for her to replace the head-veil or to pull the larger black cloth up 
over her face. 

The Essential Assistant 

It is usual when working illusions of this description to have the 
assistance of a third person. This assistant must be dressed com- 
pletely in black, with black gloves and a black mask. The latter can 
very easily be made from a piece of silk, or any other material that is 
slightly elastic. It should be stitched into the form of a cylinder suffi- 
ciently large to pull over the head. Two eyeholes are then cut in the 
desired position, and the mask is complete (Fig. 5). 



176 HOME FUN 

Garbed in this somber attire, the assistant is able to move about 
the stage quite freely without being seen by the audience, and to 
lend powerful but invisible aid in accomplishing many first-class 
deceptions. However, this point will be referred to later, and atten- 
tion should now be 
turned to the con- 
struction of the 
" black stage " it- 
self. 

Fig. i illustrates 
the appearance of 
the finished stage, 
and Fig. 2 shows the 
framework of which 
it is constructed. 
This framework is 
comprised of a number of laths fastened together by the method 
shown in Fig. 3. A small metal rod — a long nail with the head filed 
off will suffice — is driven into each upright lath. This must be 
done carefully or the wood will split. Next a hole is bored by means 




Fig. 2. — The finished frame. 






Fig. 3. — Laths fastened 
together. 



Fig. 



{. — Method of joining 
laths of frame. 



Fig. 



5. — Cloth or silk 
mask. 



of a drill or red-hot poker in each of the laths fitting upon these up- 
rights. By placing the hole in each cross lath over the nail in the 
upright lath, as shown in Fig. 3, the framework can easily be put 
together or taken to pieces, when it is necessary to convey the stage 
from one point to another. 

Fig. 4 depicts the mode of fixing two laths together length- 



BLACK STAGE MYSTERIES 177 

wise. Instead of having one long lath, it . considerably facilitates 
conveyance if two smaller laths are joined by two thumbscrews 
as shown in Fig. 4. A joint of this description is also shown at C, 
Fig. 2. 

As can be seen by the diagram, the framework is simply a skeleton 
box; but a little way beyond the center another lath should be carried 
across at the top (A B, Fig. 2). Two curtains of black cloth must 
be obtained and fastened to this lath so that they overlap at the center 
(D, Fig. 2). 

It will now be noticed that this curtain divides the stage into two 
separate compartments. The first of these is the stage proper, upon 
which the illusionist performs his various mysteries. The second com- 
partment is reserved to provide an exit for the performer and his 
assistants, the flap in the curtains acting as a doorway. Some of the 
apparatus required for the various illusions may also be kept here during 
the performance. 

The dimensions of the stage depend entirely, of course, upon the 
size of the room in which the entertainment is to be given. The 
minimum width, or " length of frontage," should not be less than 
ten feet, and the distance from the front of the stage to the beginning 
of the partition curtain not less than six feet. The distance from the 
partition curtain to the back of the stage is not of great importance. 
Provided there is room for the assistant to move about, this is all that 
is- required. Two and a half feet is ample. 

The following dimensions will be found about as convenient as 
any; but if the reader is in a position to construct a larger stage, so 
much the better. 

Frontage, 12 ft.; height, 7 ft. 6 in.; distance from front to partition 
curtain, 7 ft. 6 in. ; from partition curtain to back of stage, 3 ft. 

Having decided upon the measurements of the stage, a further 
supply of black cloth must be procured and fitted completely over the 
framework. It is preferable to have 
this cloth already stitched into shape 
(Fig. 6), so that it can be simply 
drawn on over the box-like structure 
of laths. 

It is also necessary to spread 
another piece of black cloth upon 
the floor. 

Lastly, the stage front must be 
decorated. These decorations con- F ^- 6.-Cloth covering for frame. 

sist merely of two curtains hooked at each side of the opening, and a 
frieze draped along the top lath, as shown in Fig. 1. 




178 HOME FUN 

The lighting arrangements must be left largely to the discretion of 
the reader. If he be a " handyman," he can fit four incandescent gas 
burners to the front of the show. A very effective, although primitive, 
method of lighting is illustrated by Fig. 7. Two pieces of wire are 
hooked to the top lath, a pair at each side, and three small bull's-eye 
lanterns fastened at intervals to them (see diagram). 

Yet another method is depicted in Fig. 8. About half-a-dozen 
holes are bored in a piece of gas-piping, which is stopped at one end. 



1 T 






u 




Fig. 7.— Method of lighting. 



Fig. 8. — Another method of lighting. 



Ordinary burners are screwed into these holes and tin reflectors attached. 
The whole arrangement is then bound securely to the top lath after 
the framework has been fitted together. It is then necessary only to 
fix a length of gas-tubing from the open end of the pipe to the nearest 
gas-fitting. If the reader decides upon the latter method of illumina- 
tion, his best course will be to go to a plumber and place the job entirely 
in his hands. 

The chief thing to bear in mind is, that no light must shine into 
the stage, the only illumination being projected into the eyes of the 
spectators, thus dazzling their vision as much as possible. 

The stage described can, of course, be greatly improved upon. The 
above description is intended simply as a rough guide for the boy whose 
skill in carpentry does not extend much beyond knocking a nail or tin- 
tack properly into a piece of wood, which, by the way, is not such an 
easy task as most people imagine. 



BLACK STAGE MYSTERIES 179 

Having constructed a stage suitable for working purposes, we may 
proceed with another illusion. 

The Floating Barrel 

The performer, who, as previously stated, should be dressed as a 
Chinaman, or in a white costume of some description, stands alone in 
full view of his audience. Presently he makes a beckoning motion, 
and a large white barrel floats slowly into view. To the amazement 
of the spectators, it drops gently to the ground at the magician's feet. 

He then turns to the other side of the stage and repeats the beckon- 
ing motion. Immediately a second barrel makes its appearance, and 
deposits itself on the ground a short distance from the first. 

Turning to the audience the performer borrows a dozen or so rings, 
chains, and other trinkets. Walking back to the stage, he holds the 
borrowed trinkets above the mouth of one barrel, and clearly drops 
the mass of jewelry into it. The next moment, without a second's 
pause, the illusionist seizes the barrel and turns it upside down. 

Nothing falls out. It is perfectly empty! 

Thereupon he darts to the other barrel, turns it over, and out 
shower the trinkets. 

The performer replaces them, and immediately overturns that barrel 
as he did the first. But once again the jewelry is found to have dis- 
appeared. Nor can it be discovered in the other barrel. 

Retreating to one side of the stage, however, the illusionist waves 
his hands. There is a slight flash, and a small Japanese table is seen 
standing in the center of the stage, with the trinkets heaped upon it. 

This is a very effective illusion, but it can be even improved upon, 
as the reader will see when he has read the following simple explanation 
of the trick. 

Its success lies almost entirely with the " black " assistant previously 
referred to. The " floating " barrels are simply carried in by this assist- 
ant, who must take care to hold them in such a manner that his black- 
gloved hands do not show up against the white wood. 

Whilst the performer is collecting the articles of jewelry the assistant 
holds a small bag or sack in the mouth of the barrel. Consequently, 
when the performer drops the trinkets into the barrel, they in reality 
enter the sack, when it is a simple thing for the assistant to transfer 
them to the second barrel — the black bag rendering them invisible during 
transit. 

Immediately the performer appears to deposit the trinkets in the 
barrel for the second time, the assistant again secures them in his small 
sack. This time, however, he carries them to the side of the stage, 



180 HOME FUN 

where a Japanese table has been placed in readiness out of sight of the 
audience. This table is draped with black cloth, which, as already 
explained, makes it invisible. The assistant merely lifts up this cloth 
and empties the trinkets from the sack on to the table. Then, replac- 
ing the cloth, he carries the table and its contents to the middle of the 
stage. 

Next he simply whisks away the black cloth when the performer 
gives the signal, and the table, with its small heap of jewelry, stands 
revealed. 

As previously stated, this illusion can easily be improved upon. 
For instance, the " black " assistant can place a live rabbit in one of the 
barrels, giving the audience the impression that the jewelry has 
undergone a somewhat extraordinary, though unprofitable, trans- 
formation. 

The performer should attempt to vary the nature of his entertain- 
ment as much as possible, and the following illusion could very well 
occupy the next place upon the programme. 

In obedience to the performer's command, a large white box or 
wicker-basket floats on to the stage. This, as the reader will have been 
able to gather from the explanation of the previous illusion, is simply 
carried on by the " black " assistant. 

After having shown that the box or basket — as the case may be — 
is perfectly empty, the illusionist raises it from the stage by placing 
four' blocks, one under each corner. This is to prove the impossibility 
of a " false bottom " or trap-door being used. 

A man now walks on to the stage, with a white sheet wrapped round 
him, and looking like a Dervish or bernoused Arab. Stepping into the 
basket, he coils himself up until he is concealed at the bottom. 

There is a pause of a few seconds, after which a low groan issues 
from the interior of the basket. A moment later the sheet is seen to 
shoot up into the air, and collapse in a heap upon the stage. Both 
sheet and basket are examined; but their human occupant has dis- 
appeared — has vanished, as it were, into thin air! 

The illusionist next throws the sheet back into the basket. No 
sooner has he done this than it is seen mysteriously to raise itself on 
end. Then for a second time it collapses. A moment later, however, 
a second disturbance is seen to be in progress inside the basket, and 
this time the white-robed man rises from it, and steps out upon the 
stage. 

The secret of this illusion lies in the fact that the " black " assistant 
and white-robed man are one and the same person. 

Directly the assistant has carried the wicker basket in, and whilst 
the illusionist is showing the audience that it is perfectly empty, he slips 



BLACK STAGE MYSTERIES 181 

" behind the scenes," and, taking off his black mask and gloves, hastily 
arrays himself in the sheet. 

In this guise he again makes his appearance, and steps into the 
basket. No sooner has he snuggled down at the bottom, however, than 
he quickly throws off the sheet and replaces the gloves and mask. Giving 
vent to a hollow groan, he flings the sheet into the air. This for a 
moment diverts the attention of the spectators, and gives the assistant 
time to step from the basket, behind which he remains in readiness to 
continue with the second part of the illusion. In his black clothes he 
will, of course, be quite unseen. 

When the performer puts the sheet back into the basket, the assistant 
merely stoops and slowly lifts it up, until he can step back into the basket 
under cover of it. 

As he allows the sheet to collapse for the second time, he sinks down 
with it out of sight. He then again removes his black mask and gloves, 
and envelops his body in the sheet. 

This done, the hard-worked " black " assistant in his Dervish dis- 
guise has simply to step from his place of concealment into full view 
of the audience, and the illusion is complete. 

The Vanishing Man 

Another good effect, which would act as an excellent climax to the 
entertainment, can be brought about as follows : 

The performer makes his appearance carrying a large white shawl. 
This he spreads upon the ground. Taking the shawl by its two top 
corners, he holds it before him so that he is completely hidden. 

Next he commences slowly to wave the shawl to and fro, to advance 
to the front, and then to retreat to the back of the stage. As he is 
advancing for the second time, however, the shawl is suddenly dropped, 
and — hey, presto ! — there is nothing behind it ; the illusionist has gone ! 

But at the very moment the shawl collapses, a loud shout is heard, 
and the illusionist is seen standing to the rear of the audience! 

In this illusion, as in the others, the " black " assistant plays an 
important part. His task is not nearly so difficult, however, as those 
he has already been called upon to undertake. In fact, the whole illusion, 
although it can be made one of the most effective on the programme, is 
the easiest to accomplish. 

Directly the illusionist picks up the shawl and holds it before him, 
the " black " assistant steps up and takes it. Still under cover of the 
shawl, the two slowly retreat to the back of the stage until they come 
to the opening in the partition-curtain (D, Fig. 2). It is then an easy 
matter for the illusionist to slip through the opening and get clear 



1 82 HOME FUN 

away. The assistant continues to wave the shawl slowly backwards 
and forwards, giving the audience the impression that the original per- 
former is still behind it. 

In the meantime the illusionist has made his way out of the room 
by a door in the vicinity of the stage. Thence he hurries to a door 
leading to that portion of the room containing the audience. Pushing 
this slightly open so that he may obtain a view of the stage, he waits 
until he sees the shawl drop, when he unexpectedly and dramatically 
makes his presence known. 

The assistant being arrayed in black apparel will, of course, remain 
invisible. 

The only drawback to this illusion is, that it necessitates there being 
two doors to the room in which the " black stage " is erected. Then 
again, although a room may possess the requisite doors, one of them 
may be so placed that it is impossible for the performer to reach it 
without being first seen by the audience. In such a case, however, the 
difficulty may be overcome by an ordinary screen placed from the door 
to the back entrance of the stage. 

As already observed, these illusions can be easily added to and im- 
proved upon. In fact the " black stage " and its " black " assistant offer 
tremendous scope for a really first-class entertainment, teeming with 
bewildering and mystifying illusions. 

If the stage is large enough, two assistants may be employed, and 
still more complex effects attempted. But having described several 
illusions of an entirely different nature, and having explained the prin- 
ciple upon which all such illusions are worked, it must be left to the 
reader to invent other " black stage " mysteries with which to entertain 
and bewilder his friends. 



CHAPTER XXIII 

CONCERNING GHOSTS 

Mirror Frauds 

If the Honorable Society of Stage Ghosts were to choose a motto, they 
would find few more suitable than the old adage, that " People who 
live in glass houses should not throw stones." As the following remarks 
will serve to show, their very existence depends upon a sheet of glass, 
and if this be cracked or broken, farewell to the apparition and all its 
attendant mystery. 

If you look out of the window of a lighted room upon a dark night, 
you will notice that the pane, instead of being transparent, acts as 
a mirror and reflects the room behind you. It is on this principle, 
applied to a stage, that the greater number of ghost effects are pro- 
duced. Owing to the fact that apparitions are usually seen at night, 
a good excuse is found for having the stage darkened, whilst the gloom 
serves to conceal several things highly undesirable the audience should 
observe. 

The ghost effect, as seen by the spectators, is somewhat of the follow- 
ing description. Any person from the audience is requested to come 
upon the stage and seat himself in a chair already provided. He has 
scarcely taken his seat when a white figure approaches him, passes in 
front, in doing so showing that it is transparent. Kneeling by his side, 
it lays a hand — a ghostly white hand — upon his arm, and appears to 
plead with him in a most touching manner. But the gentleman from 
the audience is implacable; he takes no notice whatever of his ghostly 
supplicant, appearing utterly unconscious of its presence. 

Suddenly the object of the ghost's entreaties becomes clear. Fum- 
bling amongst its white robes it produces a ghostly cigar, again begs 
our friend with most urgent entreaties for a match, and finally, disgusted 
at his callous indifference, shakes a sepulchral fist at him, throws aside 
the cumbersome white shrouds, and appears to the spectators as a very 
well-dressed young man in immaculate attire. He is still a ghost, how- 
ever, and calmly walks right through the gentleman from the audience, 
lights his ghostly cigar with an equally ghostly match, pats his friend 
condescendingly upon the head, and vanishes. 

183 



1 84 



HOME FUN 



Unseeing and Disbelieving 



" Ghost ? What ghost ? I saw no ghost, but I got very tired sitting 
up there all that time without anything happening." So says the gentle- 
man from the audience when he returns to his seat, and it is not until 
he has seen it all happen to some one else that he will believe anything 
really did occur. 

He is probably provoked when he finds that the next apparition 
takes the form of a fascinating young lady who vainly endeavors to 

make the young man who 
has taken his place kiss 
her. Indeed, such indif- 
ference is astounding, and 
all her pretty wiles and 
enticements are as wasted 
upon him as though he 
did not see her. As a 
matter of fact he does 
not know what pleasant 
temptations surround him. 
In Fig. l the stage is 
shown in section, and the 
phenomenon is explained. 
C, G is the stage, upon 
which is a chair, H, occu- 
pied by the gentleman 
from the audience, I. A 
sheet of plate glass, A, B, 
rises from the floor of the 
stage to the flies, and extends from one wing to the other. This sheet 
of glass is tilted forward at an angle to be determined by circum- 
stances. Between the footlights, D, and the end of the stage, C, is a 
space or well, to be occupied by the original of the ghost, K. 

When the curtain is raised, the glass, A, B, is quite invisible to the 
spectators owing to its transparency, and the extinguishing of the foot- 
lights at D renders the whole of the stage more or less dark. The 
space, D, G, is also invisible to the spectators, to whom the stage appears 
to present nothing more exceptional than an ordinary chair. 

Mr. I, as he may be called, is brought up from the auditorium, 
round by the wings and taken to his chair, whence, looking into the 
theater before him, he sees nothing of the plate of glass intervening. 
Being already dressed in {he conventional garb of a ghost, the 




Fig. i. — Arrangement of stage 
for ghost-producing. 



CONCERNING GHOSTS 185 

actor, K, places himself in the space between D and C, whereupon 
strong lights on the walls, D, E, and C, F, are switched on, throwing 
their glare upon the actor. 

Owing to the principle of reflection mentioned above, the glass, A, B, 
having a fairly dark background, becomes a mirror upon which is cast 
the reflection of the actor K. Of course, Mr. I in his chair is visible 
the whole time, but the spectators see in addition to him the reflection 
of K, which naturally appears transparent, and moves about the stage 
exactly as K moves in the space D, C. 

The position of the chair, H, is already known to K, who is accord- 
ingly able to kneel in his space in such a position that his reflection 
appears kneeling to I, to go through the rest of the performance with 
perfect ease, and to leave our friend I perfectly ignorant of what has 
occurred. Returning for a moment to the example of a pane of glass 
in a lighted room, it must be remembered that the spectators are in 
the position of the persons within the room and see a reflection of what 
is their own side of the glass, whilst I is like a person outdoors who 
looks into the room unhindered. To him the stage and the audience 
remain the same throughout the whole performance. 

A Paris Illusion 

An interesting variation of this scene is produced in Paris at an 
old cafe, known as the " Cabaret du Neant," in the Montmartre quarter. 
The whole interior of this restaurant is fitted up to appear as funereal 
as possible. Guests are served with refreshments upon cofhns by waiters 
dressed as mourners, whilst the walls are covered with notices and 
advertisements of a similarly doleful character. 

Upon payment of a small fee the guests are taken into a cellar, 
completely dark except for a small glimmer at the farther end. Having 
seated themselves they observe this light slowly increase until it is 
sufficient to disclose an open coffin standing upright. 

Some person from the audience is then requested to accompany 
one of the attendants upon the stage, where he is asked to stand upright 
in the coffin. His friends and the remainder of the spectators are then 
informed in sepulchral tones that they are about to witness a change 
which it will some day be the lot of every one to undergo, being at 
the same time reassured that the subject of the experiment will suffer 
no harm from what is taking place. 

A white cloth, stretching from the chin to the heels, is then tucked 
round the figure in the coffin, and after a few moments the living face 
gradually fades away and a skull is seen in its place, whilst a skeleton 
now fills the coffin (Fig. 2). This in its turn fades away, giving place 



1 86 



HOME FUN 



once more to the original living occupant, who soon descends from the 

stage and expresses himself much surprised at what his friends describe, 

as he himself has seen nothing of the ghastly change. 

As in the former experiment, a large sheet of plate-glass is interposed 
between the audience and the rear of the stage 
where stands the coffin. This plate of glass is 
placed diagonally, as can be seen in the plan, 
Fig. 3. The coffin, C, is lighted by several elec- 
tric lamps when the man takes his place in full 
view of the audience. At D is another coffin in 
the wings, invisible to the man at C, as also to 
the spectators. When the white cloth has been 
wrapped around the living person, the lights are 
slowly switched off at C and on at D, with the 
result that the skeleton in the latter coffin is re- 
flected in the glass, A, B, in such a manner that 
it appears to be 
actually within 
the coffin, C. To 
bring the man back 
to life the opera- 
tion is reversed. 

The object of 
wrapping the 
white cloth about 
the living person 
is simply to hide 

any difference in size between him and 

the skeleton in D. Both coffins have, 

of course, been properly arranged to suit the reflections before the 

commencement of the experiment. 




Fig. 2. — The coffin trick. 




Fig. 3. — Plan explaining coffin trick. 



The Sea Nymph 



The Sea Nymph, shown in Fig. 4, is really a beautiful illusion. The 
scenery represents a rolling sea beneath an azure sky, flecked here and 
there with skimming clouds. Suddenly from out the waves a graceful 
form is seen to appear, and, rising steadily, gambol in the billows. 
Circling in the air, she plunges down into the waves, only to reappear 
once more, and repeat her charming sport. 

The sheet of glass is arranged for this performance as in the case 
of the ghost, Fig. 1. The scenery, A, B, Fig. 5, is painted, as described, 
to represent the sea, and at L and M are placed additional waves, close 



CONCERNING GHOSTS 

footlights. The 




to the 

glass, H, K, descends 

diagonally. D, E is a 

large circular disc revolv- 
ing upon an axle, F, 

which is connected by a 

rope or wire to a barrel 

and handle, G. At C and 

M strong lights are thrown 

upon this disc. 

The young lady who 

performs the part of the 

nymph is suitably attired, 

and takes her place, lying 

upon the disc, D, E. At 

the proper time the lights 

are thrown upon the disc, 

with the result that the 

spectators see her reflec- 
tion in the glass, H, K, 

as though she were really 

standing upright amongst 

the scenery on A, R. By turning the handle at G, the disc is made 

to revolve, carrying 
JJ A with it the recumbent 

nymph, who now ap- 
pears to be turning 
elegant somersaults 
amongst the waves. 

The only diffi- 
culty about present- 
ing any of these 
effects at home is 
the inconvenience of 
obtaining and hand- 
ling so large a sheet 
of plate glass as is 
necessary. A good 
ghost effect can be 
easily produced, how- 
ever, in a room with 
a large French win- 



Fig. 4. — The sea nymph. 



LM 




Fig. 5. — Plan explaining sea-nymph illusion. 



dow. 



88 



HOME FUN 



VjUUMMMMm 

\ 




The window must be fastened open at an angle that will have to 
be ascertained by experiment. The room should then be thrown into 

complete darkness. The ghost 
C p takes his place outside the window 

o^ A and against the wall, D, F (Fig. 6), 

" fa^gs^ a V w ^ n two lamps, B, so arranged as 
to cast their light upon him. These 
lamps should be shaded in such a 
way that they cast no glare except 
upon the figure of the ghost. 

What happens is very plain. 
The open window, G, C, reflects 
the shrouded figure of the ghost at 
A, making it appear to stand in the 
Fig.6.— Plan of room for ghost illusions. doorway, pointing ominously at 

some startled person sitting in the 
dark room. It may be added that it is but fair to inform the spectators 
of what is about to take place, as many people are alarmed at appari- 
tions, and have nerves too weak to stand the sudden appearance of a 
ghost. 



CHAPTER XXIV 

SOME STAGE ILLUSIONS 

For Home Presentation 

Although from earliest times wizards and conjurers have attempted 
to create illusions to impose upon the more credulous of their dupes, 
it was not until the great Robert Houdin devoted his attention to the 
matter that any real progress was made in the art. Yet such was 
the genius of Houdin that his in- 
ventions have hardly been super- 
seded in the many years which have 
elapsed since his death, whilst in the 
greater number of cases his original 
plans have barely been improved 
upon. 

Having dealt with the subject 
of stage apparitions in the previous £ *J 

chapter, it is the intention here to Fig. i.— The principle of reflection, 
describe and explain the best illu- 
sions in so simple a manner that, with the minimum of trouble, any 
amateur can construct the apparatus necessary for their production. 
The successful working of the performance depends entirely upon the 
skill of the exhibitors. 

A great number of stage illusions are based upon the principle 
that a person looking into a mirror from any angle sees the reflection 
of objects at a similar angle from the opposite direction. This is 
borne out by Fig. i. Supposing A, B to be the mirror, with the 
spectator standing at D, he will see the reflection of an object at E, 
the angle D, F, B being equal to the angle E, F, A. 

A simple adaptation of this principle is seen in 

The Magic Cupboard 

This is a large cupboard, of sufficient height to hold a man 

comfortably, and about 4 feet wide by 2V2 feet deep (Fig. 2). The 

doors should be double, and meet at the center post H. The cup- 

189 




190 HOME FUN 

board can be lined with some simple paper of an unobtrusive pattern, 
and the doors should close easily and securely. 

Now to describe the performance as it appears to the audience. 

The cupboard is opened, and anybody allowed to mount the 
stage and see for himself that there is no false bottom or trap in the 
floor. When he is perfectly satisfied and has returned to his seat, 
the magician introduces his assistant. At a nod from him she enters 
the cupboard, which is then closed. The wizard makes a few mystic 
passes with his wand, utters the words " Imshi ! Imshi ! " meaning in 





Fig. 2. — The magic cupboard. 



Fig. 3. — Plan of magic cupboard. 



Arabic, "Depart! Depart!" The cupboard is then opened and — 
found to be empty! 

Once more the doors are closed. The magician reverses his 
passes, claps his hands, looks upward, and again opens the doors. 
The pretty young lady stands inside, smiling radiantly! 

The mystery is understandable by a glance at Fig. 3. At E and 
F are hinged two mirrors, identical in size with the walls of the 
cupboard. When opened inwards these mirrors meet at the post, H, 
which serves to conceal the line of their meeting. 

Now the whole deception lies in the walls of the cupboard. 
When inspected by the audience the two mirrors were flush against 
their respective sides, and, having their backs covered with the same 
paper used to line the whole interior of the cupboard, they were 
mistaken for the real walls against which they were pressed. But 
when the mirrors are opened inwards the spectator can see only the 
reflection of the actual walls cast upon the mirrors in such a way 
that he imagines he sees the back of the cupboard. Of course this is 
really hidden from him by the opened mirrors, but they reflect the 
paper-lined walls so accurately that a discovery of the deception is 
impossible. 



SOME STAGE ILLUSIONS 191 

When the lady is introduced into the cupboard the mirrors stand 
flat against the sides of the box, which is really empty, but as soon as 
the magician closes the outer doors upon his assistant, she pulls out 
the sides, shuts herself into the triangle E, H, F, and awaits the opening 
of the cupboard. When this takes place the mirrors are, of course, in 
the position indicated by Fig. 3. The spectators, seeing in them the 
reflection of the walls, think they see the back E, F, and thereby con- 
clude that the box is empty. This process is reversed when the lady 
makes her reappearance. 

It need scarcely be said that the object of the wizard's passes and 
incantations is to give the assistant time to open and close the 
mirrors, as the case may be. 

Care must be taken when making such a cupboard that the 
mirrors shall be flush with the sides at every point, and that when 
drawn out they meet at an angle of 45 ° from the walls. This is 
imperative in order that they shall re- 
flect the actual walls of the cupboard 
exactly. 

The illusion known as 



The Mandarin's Head 

is arranged upon a principle somewhat 
similar to the foregoing. 

To the spectators the effect is this. 
A box, standing upon a simple card- 
table, is opened and seen to contain 
a human skull. Remarking that he will 
call up the original owner of the skull, 
the wizard closes the box, mutters a few 
incantations, reopens it, and displays a 
living human head as shown in Fig. 4. 

This head laughs, speaks, and nods, 
and in numberless other ways shows 
itself to be no mere imitation. The 

box having been closed again, the incantations are reversed, and on 
the casket being opened once more the skull is found inside as at 
first. 

The secret of this remarkable illusion requires but little explana- 
tion. In the first place, the table has a hole in its top sufficiently 
large to allow of the passage of a human head. The hole is closed by 
a trap from below, after the manner shown in Fig. 5, which may be 
described in detail thus : A, B, C, D is the table, and E the lid filling 




Fig. 4. — The Mandarin's head. 



192 HOME FUN 

the circular hole. This lid is hinged by G to the table, whilst a bolt, 
F, running through the loops I, I in the table and H, H in the lid, 
secures the latter in its place. Upon drawing this bolt the lid opens 
downwards. 

As a matter of fact, the simple card-table is not so innocent as it 
looks. Indeed, the spectators do not really see under the table at all. 
The surrounding screen is reflected in a couple of mirrors shown in 
Fig. 6. Let A, B, C, D be the four legs of the table, and A, E, D, E 
two mirrors placed in the form of a V between them, and reaching 
from the table top to the floor. 

The result of this arrangement is that the two front legs, B, C, are 
reflected in the mirrors in such a way as to appear to the spectators to 





B E C 
K H 

Fig. 5. — Base of table. Fig. 6. — Plan of screen and table. 

be the back legs, A, D, whilst, as in the former experiment, the reflec- 
tions of the walls G, H, F, K, appear to be the actual back F, G, of 
the screen. 

When the magician first opens the box the lid of the table is 
closed, and a skull, imitation or otherwise, rests upon it. But no 
sooner does he close the box than the lid is let down by a con- 
federate, concealed in the space A, E, D, and the skull removed by 
him. 

This confederate, who has already been properly prepared, pro- 
trudes his face through the hole, and, when the box is opened, acts his 
part to life. When the box is closed he removes his head from the 
hole in the table, replaces the skull on the lid, and the trick is done ! 

The arrangement of mirrors has all along concealed his body, 
whilst, as already explained, the audience has been deceived into 
thinking they can see beneath the table. 

The wizard must take great care to make all his approaches to 



SOME STAGE ILLUSIONS 



J 93 



the table directly from the front, as, should the reflection of his legs 
appear in the mirrors, the " game would be all up." 
An illusion known as 

" The Head of Mary Queen of Scots " 

is worked almost in the same manner. 

The effect of the trick is shown in Fig. 7, where the head of the 
unfortunate Queen is seen resting upon the hafts of two axes laid 
over the arms of a chair. 

It need scarcely be said that the whole trick lies in the con- 
struction of the chair, illustrated by Figs. 7 and 8. The peculiarity 





Fig. 7. — The Queen Mary illusion. 



Fig. 8. — The Queen Mary illusion. 



about the chair is that the back only reaches down to the spot where 
the arms join it, thus leaving a space behind the seat. This space 
is concealed from view by a slanting mirror, the bottom of which 
rests on the seat, whilst the top comes between the arms of the chair. 
This mirror must incline at an angle of 45 ° from the seat. 

The haft of one of the axes laid across the chair arms serves 
to conceal the upper edge of the mirror, so that when a head is 
thrust upwards, it has the appearance of resting upon the ax handle. 

In the curtain against which the chair is placed there must be 
a hole exactly corresponding to the empty space in the back of the 
chair. 

Now, through this hole a girl, whose face and hair have already 
been made up to look like that of the murdered Queen of Scots, thrusts 
her body just far enough to allow the head to appear above the edge 



194 HOME FUN 

of the mirror. Owing to the angle at which it is placed the mirror 
reflects the seat of the chair in such a way that it appears to be 
the missing portion of the back. The spectators see nothing of the 
girl's body; all that is presented to their horrified gaze is the trunkless 
head of the beautiful but unfortunate Queen. 

When Three are a Crowd 

Most people know the old saying, " Two are company, three are a 

crowd," and a glance at the illustration shows 

this may really be true. 

If three persons stand in a prism-shaped 

arrangement of mirrors, as indicated in plan in 

Fig. Q, an innumerable series of reflections would 
Fig. 9.— When three are a , .- . ,, , « . ,., , 

crowd. appear and the three would in reality become a 

crowd. 

The Floating Lady 

A most interesting illusion is that of The Floating Lady, which, 
perhaps, should first be described from the point of view of the 
audience. 

The magician appears upon the stage leading by the hand a fairy- 
like lady. Introducing her to the spectators as Mademoiselle Volatile, 





Fig. 10. — The floating lady. 

he describes her susceptibility to his powers of mesmerism, in proof of 
which he offers to keep her suspended in the air for any length of time. 
Mile. Volatile accordingly lies upon a board supported by two 
trestles or chairs of the same height. Next the wizard walks round 
her, carefully disposing of her drapery and tucking it neatly about her 
feet. He makes a few mesmeric passes, examines her pulse carefully, 
and removes the trestles. The lady is seen suspended in the air as 
in Fig. 10. After a short time the magician reverses his passes, and 
smilingly helps Mademoiselle to the ground. 



D 



¥ « 



SOME STAGE ILLUSIONS 195 

All this is very mysterious until Fig. 11" gives the show away." 

A, B represents the back of the scenery through which a hole, E, is 
bored. This hole is concealed by a little drapery on the face of the 
curtain. Behind the scenes is a simple contrivance, the principle of 
which can be seen from the cut. It consists of a strong upright F, 
which branches into two arms, each of which terminates in a journal, 
H, H. Through these journals runs an iron 
bar, D, which, terminating at one end in the * 

handle, G, has the other end protruding 
through the hole in the scenery. 

In the board, C, upon which the lady lies, 
is a socket to receive the end of the handle. 

Now, whilst the lady is putting herself in 
position on the board, the magician can walk 
right round her, for the bar has not yet been 
protruded through the scenery. But, at a 
signal from him, an assistant behind the 
curtain seizes the handle, G, thrusts the bar 
through the hole as far as it will go, and 
holds the handle firmly. 

Whilst adjusting the lady's robe the 
magician fits his end of the bar into the 
socket in the board, and, still arranging 

the folds of her drapery, carefully conceals any sign of what he has 
done. Having ascertained that everything is safe, he removes the 
trestles, and the board, with its living burden, is maintained in the 
air by the iron bar. 

After replacing the supports the bolt is withdrawn by the assistant 
behind the scenes, and no one suspects the existence of the very 
material support which has kept the lady in the air. 




w 



Fig. 11. 



B 

-Key to floating lady 
illusion. 



Houdin's Mesmerism 



Robert Houdin used to exhibit to large audiences with startling 
success the following example of his mesmeric powers. For the sake 
of clearness, let it be supposed that the magician and Mademoiselle 
Volatile are performing the trick. 

After the usual remarks as to his powers of mesmerism, and how 
they set at nought the laws of gravitation, the magician introduces the 
fair lady, who wears a short skirt for the occasion. 

Taking two sticks, each about five feet long, the wizard requests 
Mademoiselle to step upon a stool. Placing one of the sticks beneath 
each arm-pit, he then begins the incantation. 



196 HOME FUN 

When the mystic words have been pronounced and the correct 
passes made, the magician removes the stool, 
and Mile. Volatile appears suspended between 
the two sticks. One or two more passes are 
made and then the wizard removes the stick 
from beneath her left arm, Fig. 12, slowly 
raising her body to a horizontal position, as 
in Fig. 13, and passing a hoop around her 
to show there is no hidden support from 
behind. 

Having left the lady thus suspended for 
some time, he lowers her to the perpendicular 
once more, replacing the stick under her left 
arm and putting the stool beneath her feet. 
She is then awakened from the trance. 

The stick beneath Mademoiselle's right arm 
is of special construction, having a core of iron 
extending its entire length. The lower end 
fits firmly into a socket in the floor, whilst the 
upper end itself contains a socket the use of 
which is explained later. 

Beneath the lady's clothing, in fact next her skin, is a well-padded 




Fig. 12. — Houdin's mes- 
merism. 




Fig. 13. — Houdin's mesmerism. 
iron cage, shown in Fig. 14. This cage consists of an iron band, 



SOME STAGE ILLUSIONS 



197 



H, G, F, which passes round the body beneath the arm-pits of the 

wearer. It is straight behind and somewhat V-shaped in front. A 

strong leather strap, E, is fastened to the band 

at I, passing between the legs and up the 

back, where it is fastened to the band again 

at G. Another piece of iron stretches from 

H by the side of the body to a point above 

the right knee, where it terminates in a loop 

of sufficient size to encircle the leg. Every 

part of this cage must be well covered to avoid 

any discomfort to the wearer. 

At H (Fig. 15) is a small bar hinging at 
B to a piece of iron, A, which, in its turn, 
fits into the socket already mentioned in the 
prepared stick. This hinge, B, contains several 

notches, X, X, X, the 

use of which is now 

explained. The bolt 

G, is fastened to 

the leg-piece D, and 

catches the notches 

X, X, X at the other end. 

It will be obvious that when Mile, is in 
her cage with the bolt C in the lowest notch 
X, she will be maintained perfectly securely in 
a perpendicular position. When the wizard lifts her horizontally, he 
releases the bolt and moves the cage with its occupant upon the hinge 
B. Having placed her in position, he shoots the bolt into the top 
notch, where it holds the cage firmly. 

The whole cage, being beneath her costume, is quite invisible to 
the audience, and as soon as the experiment is completed Mile, runs 
off the stage and divests herself of this somewhat uncomfortable 
arrangement. 





Fig. 14. — Cage for suspended- 
lady illusion. 



Fig. 15. — The hinge. 



The Indian Basket 

This familiar deception is yet sufficiently thrilling to prove fasci- 
nating to the most blase of spectators. With a little practice it can 
easily be worked at home, and the following hints will explain the 
performance. 

The magician, dressed as Bluebeard, leads Fatima on the stage, 
and, during the course of a short conversation, discovers that she has 
been prying into matters which had better have been left alone. In a 



198 HOME FUN 

fit of passion he draws his sword and rushes upon her, whereupon 
Fatima falls to her knees, crying for mercy. Bluebeard is obdurate, 
but after many tears from his wife he consents that she shall be 
blindfolded, to prevent her being a witness of her own fate. He binds 
a black scarf across her eyes, but has barely finished, when she breaks 
away, and rushes from the stage. 

Bluebeard pursues hotly, and in another moment returns dragging 
the blindfolded girl after him. He puts her into a wicker basket, 
fastens the lid, and with a savage grin, thrusts his sword through and 
through the basket, his victim shrieking at every stroke. 

Having worked the spectators to a pitch of agonized excitement, 
the murderer throws down his sword, unfastens the lid of the basket, 
and stoops to gaze on his sanguinary work. 

The basket is empty ! 

Staggering back with a look of horror, he suddenly perceives the 
" slaughtered " Fatima herself appearing from amongst the spectators, 
pointing at him accusingly! • 

The deception in the trick is twofold. Firstly, the basket is of 
special construction, and secondly, there are two Fatimas. 

With regard to the basket the solution is shown in Figs. 16 and 17. 




G 1! 

Fig. 16.— The Indian basket trick. 



E G h 

Fig. 17. — The Indian basket trick explained. 



The first illustrates the appearance of the basket when Fatima is 
thrust inside. 

The lid, A, B, is plain, and hinged to the top at C, D. The back, 
E, G, F, J, is similarly hinged at G, J. The top, E, C, F, D, is double, 
having a duplicate, L, K, hinged at E, F. 

Having placed Fatima in the basket, Bluebeard thrusts his sword 
through and through the wicker-work, carefully avoiding the spot 



SOME STAGE ILLUSIONS 199 

where, as he knows, the girl is lying. At each stroke she screams 
lustily, as though the blade were piercing her body. 

Then, deftly pushing down the back of the basket, E, G, F, J 
(Fig. 17), she rolls herself out upon it, drawing after her the false top, 
E, K, by doing which the original back is entirely replaced. She is 
now lying outside the basket, which is, of course, empty when opened 
by Bluebeard. 

Now comes the question of the two Fatimas. The girl who is put 
into the basket is not the one who was blindfolded by Bluebeard. 
When Fatima rushed away pursued by her murderer her place was 
taken by another girl waiting behind the scenes similarly dressed and 
of the same height and figure. The bandage upon her eyes hid from 
the spectators any difference in features. 

The substitute having been apparently slain by Bluebeard, the 
original Fatima slipped in at the back of the auditorium, slowly 
walked down amongst the spectators (who recognized her face) and 
confronted the assassin. In the confusion that naturally followed, the 
substitute managed to leave her place behind the basket and vanish 
from the stage. 

The Disappearing Princess 

This is an illusion originally produced at one of the French ballets. 

A train of slaves appears, bearing a palanquin, in which reclines a 
dazzlingly beautiful Princess. The slaves march slowly round the 
stage, allowing the spectators ample opportunity to inspect the 
palanquin from all sides. 

Suddenly a band of brigands rushes upon the scene, with the 
obvious intention of seizing the lovely Princess. Flourishing their 
glittering swords and brandishing all manner of fearsome weapons, 
they surround the palanquin and its terrified bearers. 

The robber chieftain advances with uncouth flattery, assuring the 
lady that not a hair of her head shall be touched. But the only 
answer she makes is to lower in his face the curtain of the litter. 

Furious at such an insult, the robber stretches out his hand, and 
with a single touch causes the curtains to fly open. 

The Princess has disappeared ! 

Gazing at one another in astonishment, the villains search for the 
vanished lady, but their endeavors proving fruitless, they eventually 
decide to butcher the slaves and carry off the palanquin as booty. 

At this moment a handsome young Prince springs into view; the 
robbers, startled at his sudden appearance, take to flight, and abandon 
all thought of their prey. 

In his turn the Prince approaches the palanquin, sees it empty, and 



aoo HOME FUN 

questions the slaves, who can only say that their mistress was there, 
but has disappeared. Pulling the curtains aside to see if they offer a 
solution to the mystery, he releases them almost instantly, and the 
lovely Princess is found reclining upon the litter, smiling so charmingly 
that the Prince then and there loses his heart. 

The explanation of all this is very simple. In Fig. 18 the lady 
is sitting upon what appears to be the bottom of the palanquin. In 




Fig. 18. — The disappearing Princess. 



reality it is a false floor placed upon the real one. At each corner 
are attached cords that run up the four columns and are counterpoised 
by heavy weights. 

When drawing the curtains, the Princess releases a catch, whereupon 
the counterpoise and cords immediately draw her, together with the 
false floor upon which she rests, to the roof of the palanquin, which 
has been so painted as to make it appear shallower than it really is. 
By pressing another spring she is enabled to lower herself once more, 
in time to appear before the fortunate and admiring Prince. 



CHAPTER XXV 

THE ROOM OF MYSTERY 

How to Make a Haunted House 

One winter evening three boys — Jim Thompson, his cousin Will 
White, and a friend named Handley — approached the door of Bobbie 
Cargill's house. Bobbie was a genius for inventions, and they all felt 
a desire to see his home. 

As they reached the door, White, who was a cynic in his own 
way, raised his hand to the knocker and was about to give a thunder- 
ing " rat-tat," when the door silently opened, revealing an empty hall 
in which the light flickered dimly. 

After a glance of surprise at one another the guests entered. 

" Close the door! Wipe your boots, and come upstairs! " 

The visitors started violently as these words were uttered by a 
hollow voice, coming from nowhere in particular, and yet quite close 
to where they were standing. 

After a moment Handley said in a whisper, " I don't much like 
this. It seems " 

" Hang up your hats, and be quick about it," the ghostly voice 
interrupted sharply. " Are you going to stand chattering there 

THE WHOLE NIGHT? HANG UP YOUR HATS, I SAY ! " 

This was not a pleasant beginning, yet none of the guests cared to 
show the white feather. 

"Come on!" said White. "Let's see it through"; and setting 
an example he placed his hat upon the nearest peg. 

Crash! Amidst a clatter as of broken glass the hat and peg 
fell to the ground. The three boys looked at one another in con- 
sternation ! 

But before they had time to remark on this misfortune, a shriek 
of weird laughter rang in their ears. "Ha! Ha! Ha!" The 
invisible person seemed in paroxysms of mirth at their disaster. 

"I don't care for this a bit," muttered Handley; "let's clear out." 
They were all about to beat a hasty retreat when Bobbie Cargill 
appeared, apparently much surprised at finding his visitors making an 
awkward group in the hall. 

201 



202 HOME FUN 

" How did you fellows get in," he said, " and what have you been 
doing? Has there been an accident? Never mind, come along- 
upstairs and have a ' feed '; perhaps you will feel better then! " 

Nothing loth, the three guests followed their host to his own 
room, which usually went by the name of " The Den." The upper 
part of the house was totally dark, and it was with a feeling of relief 
that they saw a glimmer of light beneath the door of " The Den." 

" Step inside and make yourselves at home," said Cargill. " I will 
just run and say that you have arrived," and he disappeared into the 
darkness. 

Followed by the others, White turned the handle and threw the 
door open, glad to find a light once more. But the pleasure was 
short-lived, for the door had scarcely opened half-way when the light 
went out. 

White, however, strode into the room, and his friends were about 
to follow, when there was a heavy stumble, a crash, and a smothered 
shout that was instantly drowned in the violent clatter and ringing of 
bells about their very ears. 

" What has happened ? " gasped Handley, scarcely able to hear 
his own voice in the deafening clamor. Advancing into the darkness, 
a violent report beneath his feet caused him to leap into the air with 
alarm, whilst in the gloom White was trying to make himself heard 
above the pandemonium. 

" Here, Cargill, get a light for goodness' sake ! " howled Handley, 
as their host appeared. "I don't know what on earth has happened; 
it seemed like a pistol going off." 

" You fellows are making a fine noise between you," shouted 
Cargill. " Get inside, Jim, and turn on the light; it's just to the left." 

Jim had no sooner stepped across the threshold and begun search- 
ing for the switch, than bang! bang! — the very floor seemed thunder- 
ing beneath him, whilst a rattle as of a thousand pots falling to the 
ground made the confusion worse. Leaping back hastily, he collided 
with Handley, and the couple sat down with a ponderous thud. 

"That's right; make yourselves comfortable!" laughed Bobbie 
Cargill. As he spoke the light was turned on, the jangling bells 
ceased, and the three guests were discovered gazing ruefully at one 
another, whilst their host, calm and collected, smiled down on them 
from the doorway. 

It was some time before Bobbie could pacify his guests. Indeed, 
the situation might have become painfully awkward had they not 
happened to glance at the table, which certainly looked inviting. 
Knives and forks glistened cheerfully on a spotless white cloth, whilst 
dainty mats and sparkling cruets promised a really substantial " feed." 



THE ROOM OF MYSTERY 203 

A large center-piece full of flowers added to the appearance of the 
table, and showed that Bobbie Cargill knew how to do things " in 
style." 

Following their host's example, the three chums took their seats at 
the table and glanced round the room. It was a cozy " Den," and 
looked cheerful, with a sparkling fire on the hearth. A thick curtain 
was drawn across the window at Cargill's back, lending an air of 
comfort to the place. 

Before each guest was a napkin, neatly mitered, with a piece of 
bread reposing between the horns, and scarcely noticing what he was 
doing, White drew this piece of bread from its resting-place. 

A sharp exclamation drew attention to him. There he sat, a mass 
of bread-crumbs before him, and a look of surprise on his face! 

"Have you had an accident?" grinned Cargill. " Never mind 
the crumbs, they can soon be scooped up; wait a minute until I 
fetch the tray." 

He had scarcely risen when a roar of laughter burst from Jim 
and Handley. By some strange means the entire mass of crumbs had 
been swept off the cloth and scattered all over the place. 

" You might have waited for me to clear them away," grumbled 
Bobbie, and this was the beginning of a heated discussion, which 
would probably have ended violently had not the host turned the 
conversation by asking Jim if he would take a piece of tongue. 

" Yes, please," answered Jim. 

Sharpening his knife in a business-like manner, Cargill made ready 
to cut a slice. 

But at this point a strange thing happened. As soon as the knife 
and fork got near the tongue, it leaped from the dish and clung 
tenderly to the knife. For a moment or two it hung suspended, and 
then flopped back into the dish. 

" Let's have another try," said Cargill in a puzzled way. Up 
it jumped once more, apparently too anxious to be carved to remain 
still on the plate. 

A murmur of surprise escaped the guests as all eyes were fixed 
upon this strange behavior. Once more the carver thrust his knife 
near the tongue, caught it neatly as it ascended, and carried it away to 
a side table, where he was obliged to bury his face in a handkerchief, 
presumably overcome with grief. 

Having recovered somewhat, the host resumed his seat, remarking, 
" I think that tongue is best out of the way. I am afraid I have 
nothing better to offer you than some potatoes. You might help them 
round, Handley." 

Before his friend had time to reply, the lid of the tureen arose 



204 HOME FUN 

slowly and deliberately — ascended and then remained stationary in the 
air. Only for a moment, however. Suddenly rising yet higher it 
was followed by each individual potato, as one by one they rose 
sedately to the ceiling, leaving but one of their number in the tureen. 

Their eyes fairly bulging with surprise, the boys looked at one 
another, at their host, and then at the tureen with its solitary occupant. 
But this last potato had suddenly awakened to a sense of its loneliness, 
and sprang into the air to join its companions. Next the whole party 
of vegetables slowly crossed the ceiling and disappeared behind the 
curtain, to be seen no more. 

Jim wanted to jump up and see where they had gone, but his host 
dissuaded him, and, anxious to change the subject, asked what he 
would have to drink. 

" I don't quite know. What is there? " 

A wine bottle that had been quietly standing in front of White 
lurched suddenly forward, as though in answer to the question. At 
the same moment the table began to heave, the glasses to rattle, and a 
little stool, covered with books, toppled over with a prodigious crash. 

" Haven't you some other room we can go to ? " stammered Jim. 

" Nonsense, it is only some silly trick of Cargill," said White. 
Nevertheless all three guests wished themselves well out of it, espe- 
cially when the dim light suddenly grew dimmer, and the shadows in 
the room increased. In a few seconds the boys were barely able to 
see one another. 

At this point a mournful moan rang through the room, the curtains 
were seen to open, and a white figure glided from between them and 
passed out through the door. 

" Let's get out of here, the place is haunted ! " cried White, rising 
from his chair. 

"Ha! Ha! Ha!" a ghostly laugh issued from the flowers in the 
center of the table, and was echoed by the clock on the mantelpiece. 

" Ha ! Ha ! Ha ! " — but the guests could stand it no more, and, 
scrambling and struggling, they rushed downstairs, with White at their 
head. Panting and scared they did not stop until the hall was reached, 
when they stood still, staring at one another in dismay. 

" What is the matter?" a sweet voice greeted them. The whole 
party turned to find Cargill's sister standing at the dining-room 
door, looking from one to the other in frank amazement. None of 
them cared to reply. It is no pleasant thing to tell a pretty girl that 
you have been afraid. 

" The ghost, Dolly," gasped her brother after a moment, and in a 
shaky voice he recounted their mysterious adventures. 

" So the silly old ghost would not let you have any tea! You 



THE ROOM OF MYSTERY 



205 



must all come in here and enjoy yourselves. I believe there is 
plenty to eat," and leading the way Miss Dolly ushered them into the 
dining-room, where the table was laid with enough good things to 
cheer a king. 

But when she had shown each of the four friends his seat there 
still remained a vacant place at the head of the table. 

" Now, gentlemen," she said with a naughty smile, " as you are all 
feeling much braver now, I am sure you will not mind if the Ghost 
sits down and has something to eat, too." 

The boys looked at one another and then at her, but Miss Dolly, 
taking no notice of their surprise, quietly seated herself in the vacant 
chair, passed a plate to White, and said — 

" Now, Mr. White, please give the Ghost something to eat." 




After they had all had a good tea, of course Bobbie Cargill and his 
sister, the Ghost, had to tell the others how it was done. This is the 
gist of what they said: — ■ 

The opening of the door was a very simple matter. A loop was 
tied in one end of a long piece of strong cord or string, which was 
carried across to the wall by means of staples, to a concealed corner. 
The loop was slipped over the door-catch, 
so that when the other end was pulled this 
catch was drawn back, whilst the continued 
pull on the string made the door open. This 
loop was made of such a size, that as soon 
as the door had opened to its full extent the 
string slipped automatically from the catch, 
and could then be pulled away and out of 
sight. 

In the angle formed by the wainscoting 
and the floor a piece of simple tubing was 
placed, one end reaching a room on the 
ground floor, whilst the other was carried 
up behind the hat-stand to the height of 
about five feet. To this end a cardboard Fig. 1.— Apparatus for produo 
£ 1 r j • t-- 1 • 1 , • 1 • m S ghostly sounds, 

funnel was fixed, as in Fig. 1, which, sticking 

out from the wall, was concealed by a hat or scarf upon the rack. 
A similar funnel was placed upon the other end, so that the voice of 
any person speaking through the tube from the room was carried 
with undiminished force to the hall, thus transmitting the ghostly 
messages and weird laughter to the guests. 

In most hat-stands the pegs are screwed to the back, and taking 
advantage of this, Bobbie Cargill had unscrewed those pegs most likely 



v\/A 



206 



HOME FUN 



to be used by his visitors, putting " fakes " in their place To all appear- 
ances there was no difference between the " fakes " and 
the proper pegs, but in reality the former were simply 
gummed against the rack, just strong enough to bear 
their own weight, but too weak to support a hat. 

By the contrivance of a piece of string the fall of 
the hat-peg was made to work a kind of booby trap, 
explained by Fig. 2, which shows the hat-stand in 
section. The false peg, A, is lightly gummed to the 
stand, B, C, against the hole D, where the real peg 
is screwed. A bent pin or nail is driven into this 
end of the peg, as seen in Fig. 3, the end bending 
downwards. A thin piece of string, F in Fig. 2, is 
fastened round this pin with a loop, passed through 
the hole D, and supports at the other end a tin, G, 
filled with bits of broken glass, marbles, and such like. 

Naturally, when White hung his hat on the peg 
the strain brought the peg away from the stand, in its 
fall releasing the string and causing the tin to clatter 
to the floor. So simply was the whole thing arranged, 
however, that Bobbie Cargill had fixed it up in less 
time than it has taken to describe. 

The absence of lights in the house served a two- 
fold purpose. In the first place, it made the mystery 
and eeriness more marked, whilst at the same time 
it concealed several little matters which had to be 
hidden, in order to insure success. 
It will now be necessary to glance at the arrangement of the " Den," 




Fig. 2. — Mysterious 
hat-stand. 




A 1 


9 




oO 






r 


oG 




oq d 


G*~ 






1 b r 


1 


■» 



Fig. 3.— Prepared hat- Fig. 4.— Plan of the room of mystery, 

stand peg. 

shown by Fig. 4. The room was entered by the door A, whilst in 



THE ROOM OF MYSTERY 207 

the opposite wall is the fireplace B. The window C is hidden by 
the two heavy curtains at D and E. In the center of the room 
stood the table F, around which were placed the chairs G, G, G, G. 
Between the curtains and the window stood the ghost, who after all 
turned out to be none other than Dolly. 

Over the center of the table hung the gas, which, being incan- 
descent, naturally had a burner with a by-pass, and was easily manip- 
ulated by means of a piece of string running up the chandelier, 
carried across the ceiling where it was painted white, and down to 
Miss Dolly behind the curtains. A weight should be fastened to the 
switch to make it fall when not pulled by the string, as in Fig. 5. 

When White opened the door the young lady lowered the gas by 
means of her string, and as it was a by-pass the light did not actually 





Fig. 5. — The weighted by-pass. Fig. 6. — An exploding cap. 

go out, although it went sufficiently low to plunge the room in 
darkness. 

It was an easy matter to cause a collision between the visitors. 
A piece of cord stretched across the room, at L, L, quickly did its 
work, and was then pulled away behind the curtain. 

The " Den " had not been fitted up so neatly for beauty alone, and 
if they had looked, the guests might have found a couple of strong 
electric bells concealed beneath the dainty hangings of a picture by 
the door. Dolly had but to push a button and these two bells were 
set ringing like an alarm clock, and with a persistence calculated to 
arouse the Seven Sleepers. 

Handley's experience required even less preparation. Several 
good percussion caps were placed beneath the carpet and covered 
with a piece of tin as shown in Fig. 6. In the center of this piece of 
tin, a hole was pierced with a nail, making ragged edges on the further 
side. These ragged edges were placed over the powder in the cap, 
with the result that so soon as Handley trod upon the carpet over the 
plate the cap was exploded with a loud report. 

Meanwhile Bobbie Cargill, arriving under cover of the darkness, 



208 HOME FUN 

added to the uproar by banging a tin can with a heavy stick, and 
performed this office so lustily that nothing else could be heard. 

It is scarcely necessary to remark that sending Jim into the room 
to turn on the switch was merely a feint to get him out of the way, 
and to plunge him into the fracas. 

A signal from Bobbie was enough to make his sister turn on the 
light and release the bell pushes, so that when silence was restored, 
and the darkness dispelled, there was nothing to show how all the 
commotion had occurred. 

By adjusting a screw in the gas-burner Bobbie had previously 
arranged matters so that even when the gas was turned full on the 
light was not very strong. Although sufficient to illumine the room, it 
was feeble enough to hide several tell-tale features. 

Besides being an ornament to the table, the large center-piece of 
flowers served to conceal the end of a piece of tubing which passed 
beneath Bobbie's chair to the far side of the curtain. Amongst the 
frilled mats, too, there were one or two other contrivances to be 
explained in their turn. 

It had been Miss Dolly's business to make the fake pieces of bread. 
Taking a piece of bread and breaking it up into very small crumbs, 
she had then added just enough milk to enable her to mold the 
crumbs into the shape of a piece of bread again, and had then let the 
concoction dry, when it had become sufficiently brittle to suit her 
purpose. 

Concealed by the mat in the center was a small indiarubber tube, 
one end pointed directly to the spot where White had dropped his 
mass of crumbs, whilst the other ended in a bulb conveniently placed 
to Bobbie's hand. He had nothing to do, therefore, but to press the 
bulb suddenly, and laugh as the wind thus caused sent the crumbs 
flying. 

A Deceitful Member 

The tongue is proverbially a deceitful member, and the one lying 
before Bobbie Cargill was no exception to the rule. Indeed, except for 
its appearance there was really very little tongue about it. It consisted 
of a round tin, in which had been placed a small bar of highly mag- 
netized iron. By fixing a slice of real tongue to the top of the tin, and 
disguising the sides in a similar manner, Bobbie had made such a good 
resemblance to the real thing, that it would have been hard to discover 
the deception in the subdued light of the " Den." 

It is very easy to see what happened. So soon as the steel knife 
approached the dish, the magnet within the faked tongue made the 
latter leap up to meet the knife and cling to it. Of course, when the 




Fig. 



-The mysterious 
tongue. 



THE ROOM OF MYSTERY 209 

fork was plunged through the thin outer coating of meat it struck the 
tin, making it crack in a strange manner. In Fig. 7 is shown the 
method of fixing the magnet, the whole faked tongue being shown in 
section. A number of experiments had to be undertaken before the 
trick could be made to work satisfactorily, 
but in the end Bobbie was quite pleased with 
the result of his labors. 

The whole success of the potato trick 
depended upon Dolly, who worked the simple 
apparatus to perfection. Attached to the 
handle of the lid was a strong piece of wire, 
which the half-light rendered invisible. This 
passed through a loop in the ceiling and over 
to the curtain, to enable that young lady to pull. A second wire was 
attached to it that pulled the cover and the potatoes out of sight. 
Fig. 8 will show how this was arranged. A ring C is put in the ceiling 
A B over the tureen. From the lid E a wire D passes up through this 
ring and along the ceiling to the back of the curtain G. Upon the 
wire D a ring H is threaded, whilst attached to this ring is another 
length of wire F, that also passes behind the curtain. 

By pulling the wire D the lid of the tureen is naturally raised 
to the ceiling at C. When it has reached the top, it is only 

q necessary to pull the 

~^ wire F, and pay out 
the wire D, to make 
the whole lid travel 
towards G. Each of 
the potatoes had been 
previously attached 
to the lid by a wire 
about ten inches long, 
with the exception of 
the small one that re- 
mained in the dish, 
which had a sepa- 
rate arrangement of 
thread, similar to that 
of the lid, all to itself. 
The movement of 
the bottle upon the table was caused by the inflation of a little india- 
rubber bulb beneath the cloth, and worked by the host as he sat at 
the table. 

The excitement of his guests having been thus aroused it was a 





-The disappearing potatoes. 



210 HOME FUN 

very simple matter for Bobby Cargill to move the table with his knees, 
whilst by dexterously pulling a string Dolly was able to overturn the 
little table laden with books (Fig. 4, H). To add to all this confusion 
Dolly then began slowly to lower the light, tap the wall by her side, 
and utter dismal groans. She then clothed herself in a white sheet, 
opened the curtains, and made her way out of the room with all haste. 
Little wonder that general consternation ensued ! 

It only remains to be mentioned that the speaking tube concealed 
amongst the flowers in the center-piece was sufficient to carry the 
laughter from one of the servants, who, acting under instructions, 
stood without the room. It proved the climax, and peace was scarcely 
restored until they were all sitting below with the Ghost herself, and 
partaking of a real supper without any faked tongue. 

As they all agreed, it was not a bad scare for the money, as a very 
small sum represented the entire outlay for working The Mysterious 
Room. 



CHAPTER XXVI 

MECHANICAL SECOND-SIGHT 

Approaching the Supernatural 

An exhibition of so-called hypnotism and second-sight is a favorite 
item in the programmes of many professional entertainers. If well 
managed, the performance appears miraculous, .and is sure to impress 
the majority of the audience as savoring strongly of the supernatural. 
The exhibition is usually somewhat of the following nature. 

A young lady is presented to the audience as being possessed of 
the marvelous faculty of second-sight, so keenly developed that she is 
able to see and describe whatever falls under the observation of her 
double. Needless to say, this individual is the performer who intro- 
duces her. Having given this explanation, Prof. B, as he may be 
called, bandages the eyes of the gifted young lady, Mile. C, and seats 
her on the stage in full view of the spectators. 

The Professor now walks amongst his audience and asks some 
person to whisper a number. This having been done, he calls out 
to Mile. C, desiring her to state this whispered number, which she 
cannot possibly have heard. Without the least hesitation Mile, answers 
correctly. 

The Professor will perhaps now ask for a coin, and at his request 
she will describe it accurately, give its date and value, and any other 
particulars desired. In the same way she will give the number of a 
bank-note, describe any article the Professor may happen to be holding 
in his hand, or even tell to what he is pointing. 

With many other tricks as wonderful and mysterious does the 
Professor attempt to beguile the audience into a belief in his occult 
powers. It may be very uncharitable to give the Professor's decep- 
tions away, but that is what this chapter will do for the benefit of 
its readers. 

The whole secret lies in a private code understandable only by the 
two performers. By using this Prof. B tells his accomplice exactly 
what she has to answer, gives her the numbers and describes the 
objects, quite unknown to his listeners. All that is necessary is a 

211 



212 HOME FUN 

good memory and quick hearing. Given these essentials, the rest is 
simple. 

Let us begin by describing the code with which the Professor 
apprises Mile. C of the various numbers chosen by the audience. 

The units are expressed by letters from which Prof. B forms 
sentences when addressing Mile. C. A very commonly used code is 
this :— 

i is represented by t 6 is represented by h 

2 " " n 7 " " k, g, or c 

3 " " m 8 " f,v,orw 

4 " r 9 " porb 

5 " 1 o " sorz 

To use this code properly two things are necessary. Mile. C must 
know how many figures the number consists of, and she must also 
know when the code is finished. 

The latter point is easily settled. When she hears the words, " if 
you please," she knows that whatever follows has no code meaning 
whatever, whilst everything that precedes these words carries a hidden 
meaning. 

By the use of the following words the number of figures is 
conveyed in a perfectly unmistakable manner. 

For one figure use the word figure. 
" two figures " " number. 
" three " " " very well. 

" four " " " very well, sir (Mile, or madam). 
" five " " " very good. 
" six " very good, sir (or madam). 

The following explanation shows how to put this into practice. 
Taking all the numbers successively from one to ten (a thing that 
would never be done in an ordinary way), Prof. B conveys to his 
fair friend the desired information by means of the sentences sub- 
joined. 

Prof. — Tell this figure, (t = i ; " figure " = one number.) 
Now, what is this figure? (n = 2.) 
Might I ask this figure? (m = 3.) 
Repeat this figure, (r = 4.) 
Let me know this figure. (1 = 5.) 
Have you understood? (h = 6.) 
Give me this figure, (g = 7.) 
Will you repeat this? (w == 8.) 
Please tell me this figure, (p = 9.) 



MECHANICAL SECOND-SIGHT 213 

Prof. — This seems an easy number, (t = 1, s = o; "number" 
means two figures. Ans. 10.) 

Prof. — Now, please, tell this number, (n = 2, p = 9; word " num- 
ber " means two figures. Ans. 29.) 

Prof. — Very well, let me know this. ("Very well" means three 
figures; 1 = 5, m = 3, k = 7. Ans. 537.) 

Prof. — Very good, Mile. Now repeat clearly what this is, if you 
please. ("Very good, Mile.," means six figures; n = 2, r = 4, c = 7, 
w = 8, t = 1, s = o. Ans. 247810.) 

Sometimes the Professor asks some person present to come upon 
the stage, and write certain figures upon a blackboard provided for the 
purpose. The method of communicating the numbers is the same, 
but the Professor in this instance points to each figure in turn, tells it 
to the lady, and awaits her reply before proceeding. For example, 
suppose the number 638219 to have been written by a gentleman. 

Prof. — Very good, sir (turning to Mile. C). How many figures 
have been written upon the board? 

Mile.— Six. 

Prof, (pointing to first figure) — How about this? (h = 6.) 

Mile. —Six. 

Prof. — May I ask this? (m = 3.) 

Mile,— Three. 

Pr of.— Well! (w = 8.) 

Mile.— Eight. 

Prof. — Now, if you please. (n = 2.) 

Mile.— Two. 

Prof.— This? (t = 1.) 

Mile.— One. 

Prof. — Please. (p = 9-) 

Mile. — Nine. 

Prof. — That is all right. (This is invariably understood to mean 
that the experiment is completed.) 

Should any smart person write a number like 99999, and smile 
expectantly, awaiting the Professor's confusion, he will be doomed to 
disappointment, for Prof. B merely says to him "Very good"; and 
turning to Mile. C, says " Please," and she answers immediately, " There 
are five nines." Of course the Professor's " very good " has told her 
that there are five figures, and the " please " has told her that they 
begin with nine. Finding that the Professor does not say anything 
more, she presumes they are all the same, and replies accordingly. 

This system of coding is applied in a similar manner to the letters 
of the alphabet, and by this means any word can be easily spelled. 
But to avoid detection, the letters have to be transposed somewhat 



214 HOME FUN 

after the following fashion, which must only be considered as an 
example, being too easy of detection for practical use. 



A 


becomes 


B 


J becomes K 


S becomes 1 


B 


>f 


C 


K ' 


L 


T 


>) 


u 


C 


}> 


D 


L 


M 


U 


5) 


V 


D 


>> 


E 


M ' 


N 


V 


>> 


w 


E 


»> 


F 


N ' 


O 


W 


J) 


A 


F 


>> 


G 


O ' 


P 


X 


J> 


" now " 


G 


>> 


H 


P 


' Q 


Y 


JJ 


11 easy " 


H 


a 


I 


Q ' 


R 


Z 


JJ 


" plain " 


I 


)> 


J 


R ' 


S 









To show how this is used, it may be supposed that the Professor 
has in his hand a brown cap, which some little boy in the audience 
has given him. 

" Do be quick, if you please, and tell me what I have in my hand? " 
(d = c, b = a, q = p.) 

" A cap," answers Mile. C. 

"Come, say precisely, if you please, what color?" (c = b, s = r, 
p = o.) 

" It is a brown cap," answers she. 

This system can be simplified yet further by coding the various 
objects most likely to be required, in a way similar to the following: — 

Touch = part of clothing. 

Look at = part of the room. 

Point = part of figure. 

Oh yes ! = letter or piece of paper. 

Most certainly = coin, other than money. 

Yes, if you like = a watch. 

This is harder = some trinket. 

I am afraid this is harder = a ring. 

An excellent idea = a playing card. 

As an example of how this code can be employed, it may be 
imagined that the Professor lays his hand casually upon a gentleman's 
coat-sleeve. 

Prof. — What am I touching? 

Mile. — A part of some one's clothing. 

Prof. — Tell me fully what, if you please? (t = s, m = 1, f = e, 
w = v; which reads " sleeve." 

Mile. — I can dimly see a sleeve. 

Prof. — Have you found only a sleeve? (h = g, f = e, o = n; 
reading " gent." 






MECHANICAL SECOND-SIGHT 215 

Mile. — Yes, I see a gentleman's sleeve. 

Or as another example, imagine that some one produces a 
seal. 

Prof, (loud enough for Mile. C to hear) — This is harder. This 
fairly bothers me (looking at it closely). 

Mile, (who has understood " This is harder " to mean a trinket, and 
" this fairly bothers me " to read Seal) — I can see quite plainly that 
it is a seal. 

Prof. — Both initials, if you please. 

Mile. — A, and then H. 

Prof. — Hurry up, if yon please. What metal is it made of? 

Mile. — It is made of gold. 

This last answer is based upon another code for the various metals, 
which may be something like this : — 

Brass is represented by T Gold is represented by H 

Copper " " C Iron " " J 

Silver " " D Tin " " M 

Some person in the audience hands the Professor a silver cigarette 
case, and, looking up to the stage, he remarks — 

" This is harder. Come, perfectly, now ! " (c = b, p = o, now = x.) 

" I see a box," murmurs Mile. C dreamily. 

" Describe it." (d = silver.) 

" It is made of silver." 

" Do just have something further, if you please." (d = c, j = i, 
h — g, s = T > f — e — making " cigre.") 

" It looks like a cigarette box — a cigarette case." 

" Let us know the number of cigarettes in it? " (1 = 5.) 

" There are five cigarettes." 

" Well, just say, if you please, what kind? " (w = v, j = i, s = r.) 

" They are cigarettes of Virginia tobacco." 

Money should be designated by N, which, as you remember, is the 
code letter for M. The following will then come in handy : — 

Gold is coded as 1, silver as 2, copper as 3, and paper as 4. 

" Now, if you please, tell me what I have in my hand ? " 

" I see money." 

" Nature? " (n = 2 = silver.) 

" Silver." 

" Let's see, if you please, how you would describe this coin? " (1 = 5, 
s = o.) 

" I see a fifty-cent piece." 

" The piece seems new? " (t = 1, p = 9, s = o, n = 2.) 

" The date is 1902." 



216 HOME FUN 

Holding out a handful of money, containing say, a five-dollar gold 
piece, two fifty-cent pieces, four quarters, and five cents in copper, 

The Professor says, " Tell this, if you please, the number of coins 
in my hand?" (t = i, t= I.) 

" Eleven," answers Mile. C. 

" True. Now, Mademoiselle, if you please, tell me the nature of 
it? " (t = i = gold, n = 2 = silver, m = 3 — copper.) 

" Gold, silver, and copper." 

" Leaving, if you please, the others, let us start with the gold." 

" A five-dollar gold piece." 

" Now, if you please, silver." 

" I see two dollars in silver." 

" Likewise, if you please, the copper? " 

" Five cents." 

" All right." 

The code for playing cards should be formed in much the same 
way. The following is a suggestion of what might be arranged : — 

The cards, commencing with the ace and finishing with the king, 
should be numbered one to thirteen inclusive. The suits can then be 
distinguished thus : — 

Good = hearts; very good = diamonds; well = clubs; very well — 
spades. 

Supposing that the Professor has handed a pack of cards to some 
person among the spectators, who has drawn the knave of clubs. 

" Very well, sir," says the Professor. " There tell, if you please, 
what card this is?" (Very well = clubs, there tell = eleven, i.e. the 
knave. ) 

" You are holding the knave of clubs in your hand," replies 
Mile. C. 

" Good. Look, if you please, and tell what this is?" 

" The five of hearts." 

" Very good, Mademoiselle. Tell me, if you please, what this 
card is? " 

" The king of diamonds." 

"Well, this?" 

" The ace of spades." 

At this point it is not an uncommon thing for some skeptical person 
present to take a card and demand to know its value without having 
shown it to the Professor. The latter rises to the occasion immediately. 
He explains that Mademoiselle can only see what he actually sees 
himself, her sight being second to his own. Casually drawing a card, 
and not showing it to anybody, he remarks, " Very well, Mademoiselle, 
tell me, if you please, what this is? " 



MECHANICAL SECOND-SIGHT 217 

" The three of clubs," she answers; and the Professor then shows 
the card to all, demonstrating the skill of the gifted lady. 

For an extensive programme a greater number of codes is necessary. 
We give an idea for some of these which may prove of use. An un- 
failing memory is essential to second-sight, and the greater the number 
of codes that can be learned, the more sure of success can both 
performers feel. 



Clothes and Materials 



Coat . 
Overcoat . 
Dress Coat 
Waistcoat . 
Trousers . 
Boots . 
Shoes . 
Handkerchief 



c 


Bodice . 


. . E 


oc 


Skirt . . . 


. . F 


DC 


Shawl. . 


. . H 


G 


Wrapper 


. . A 


T 


Silk. . . . 


• ■ Q 


B 


Cloth . . . 


. . P 


S 


Serge . 


. . O 


N 


Cotton . 


. . M 



Touching a lady's wrapper, the Professor says: "What do I touch? 
Answer quickly, if you please." (Touch = part of clothing, A = 
wrapper, Q = silk. ) 

" You are now touching a silk wrapper," replies Mile. 

Again there may be a separate code for flowers, to be introduced 
by "What is this before me?" to show Mile. C that the Flower Code 
will follow. 



Rose 
Violet . 
Snowdrop 
Pansy . 
Carnation 



S Orchid P 

W Narcissus E 

T Pink R 

Q White A 

D Red B 



"What is this before me? Be descriptive." 

" A red carnation," replies the lady unhesitatingly. 

" Well, if you please, what is this flower? " 

" It is a violet." 

The Professor and Mile. C have nearly finished their entertain- 
ment. But before bowing farewell to the company, he approaches 
a little girl, let us say in the audience, and in a whisper asks her age. 
With the utmost secrecy she informs him that she is just nine. 

" Pray, how old is my little friend here? " he demands of Mile. 

" Nine years old," she replies at once. 

" What is your name? " whispers the Professor to the little girl. 

" Margery," she whispers back. 



2l8 



HOME FUN 



"Now! Be sure! Having found so easily, if you please, her 
age, what is the young lady's name? " (N = m, b = a, s = r, h = g, 
£ == e, s = r, easily = y. ) 

" Her name is Margery," is the reply; and with this pretty 
example of his power, the Professor will close the evening. 

I have dealt at such length with the Professor and his codes, because 
it is the easiest and most general system of mechanical second-sight. 
But Professor B and Mile. C have yet another system of second-sight, 
more puzzling still to the spectators, as not a word is exchanged between 
either of the confederates during the whole performance. 

Seating the lady upon the stage, facing the audience, and omitting 
to bandage her eyes, Professor B goes down amongst the spectators 
as before, examines various articles, is told different numbers and 
touches sundry objects exactly as in the former entertainment. With- 
out speaking a single word he merely glances at Mile. C, who after 
a few seconds mentions the number or describes the article as the case 
may be. 

All this is highly mysterious, and is the result of a very ingenious 
mode of signaling which may be thus explained. 

As soon as Professor B raises his eyes to Mile. C they both start 
counting to themselves, and the instant he drops his eyes they cease. 
This has been practiced over and over again until they have learned 
to count exactly at the same speed. The result is that when the Professor 
has counted five, let us say, Mile. C has counted five also, and so with 
any number. 

The alphabet is then coded with numbers according to the following 
system. 



I 


2 


3 


4 


5 


6 


F 


E 


D 


C 


B 


A 


G 


H 


I 


J 


K 


L 


R 


Q 


P 





N 


M 


S 


T 


U 


V 


W 


X 


— 


— 


— 


— 


z 


Y 



The letters are represented by the vertical figures on the left and 
the horizontal figures on the top, and by this ingenious means are 
communicated. 

To signal the letter A the Professor would glance up at Mile. C, 



MECHANICAL SECOND-SIGHT 219 

count one, and then glance down again; he would then look up and 
count six and lower his eyes once more. 

Supposing that some lady had lent a diamond ring, the process 
would be the following : — 

(The letter U shows when the Professor raised his eyes, and the 
letter D when he lowered them. The clots designate the numbers he 
would count in the interval.) 

Prof.— (without speaking). U . . . D, U . D = R, U . . D, U . . . 
D = I, U . . . D, U D = N, U . . D, U . D = G. 

Mile. — You have a ring in your hand. 

Prof.— U . D, U . . . D = D, U . . . D, U D = M, U . . . D, 

U D = N. 

Mile. — It is a diamond ring. 

Prof.— {J . D, U .... D = C = 3. 

Mile. — It has three stones. 

With reference to this last answer it must be explained that the 
numerals are represented by the letters of the alphabet, A = i, B = 2, 
C = 3, &c. 

Or again some person holds a bank-note numbered 15498. The 
Professor communicates this number thus : — 

U . D, U D = 1, U . D, U . . D = 5, U . D, U . . . 

D = 4, U . . D, U . . . D = 9, U . . D, U . . D = 8. 

Mile. C then remarks, " The number is 15498." 

Cumbersome as this may seem at first, a little practice enables the 
signaling and translating to be done with great rapidity. All the codes 
previously described can be introduced, numbers being substituted for 
letters, or letters for numbers, as may seem expedient. 

Mechanical second-sight has an extraordinary effect in an enter- 
tainment if well done. Both the Professor and his accomplice must be 
sharp and sure, the least mistake being not only disconcerting, but 
likely to arouse the suspicions of the spectators. If a mistake be made, 
the only thing to be done is for the Professor to pretend that he has 
himself mistaken the number or not noticed the object properly, and 
if this fail he must have recourse to pure " bluff." 

All things considered, the number of out-of-the-way objects likely 
to be produced is really very few, and there is no reason why an 
intelligent couple of amateurs with retentive memories should not 
provide a successful exhibition of second-sight wherewith to amuse 
their credulous friends. 



CHAPTER XXVII 



PAPERGRAPHY 

How an Excellent Entertainment may be Given 
with a Sheet of Paper 

The greatest attraction wielded by Papergraphy is, perhaps, the extreme 
simplicity of the apparatus required. 

At first sight it seems utterly impracticable that a first-class enter- 
tainment, of almost a quarter of an hour's duration, can be given with 
a sheet of paper. Moreover, very little* practice is necessary. 

Cartridge paper is the kind usually employed by professional 
entertainers, and a suitable size is 54 inches by 36. A sheet of these 



H7 ST 




Fig. 1. — Paper folded. Fig. 2. — Paper pleated. 



Fig. 3. — Rosette. 



dimensions may be purchased from any stationer's or dealer in artists' 
requisites. 

The paper must be marked out lengthwise into five parts; the 
central section being 12 inches wide and the two on each side 6 inches 
in width. The paper should next be folded along these lines (Fig. 1), 
and once again folded into a series of pleats, as depicted in Fig. 2. 
A convenient width for these pleats is 1 inch. 

All being now ready for the first demonstration in Papergraphy, 
commence by forming a Rosette (Fig. 3). 

220 



PAPERGRAPHY 221 

Close up the pleated paper, and pull round the corners of each 
until they meet. 

Table Mat (Fig. 4) . Keeping hold of the ends of the rosette, stretch 
out the pleats as far as possible. 

A Primitive Boat (Fig. 5). With the pleats still fully extended, turn 
each end up, almost at right angles. 





Fig. 4. — Table mat. 



Fig. 5. — Primitive boat. 



Church Window (Fig. 6). This is formed very similarly to the table 
mat, the difference being that one end is allowed to hang straight down. 

Fan (Fig. 7). Close up the pleats and spread out one end in the 
form of a semicircle. 

For the next series of transformations, the first fold (A, Fig. 1) 
must be opened. 




Fig. 6. — Church window. 



Fig. 7. — Fan. 



Fig. 8. — Mushroom. 



Mushroom (Fig. 8). Pull both ends round to form a cylinder, with 
the open fold at the top. 

Candlestick (Fig. 9). This is made by simply turning the mushroom 
upside down. 

Clown's Hat (Fig. 10). Press the top of the candlestick together, 
making it as pointed as possible, and place upon the head, with the 
folded bottom acting as a brim. 

The second fold — on the same side as the fold already employed 
— must now be opened. 



222 HOME FUN 

Flower Vase (Fig. n). Keeping the two folds well open, pull the 
ends round, into the form of a cylinder. 

Eastern Water- Jag (Fig. 12). Bend the paper round in the reverse 
direction to that forming the flower vase. Then close the bottom end, 
and place on the shoulder, as though carrying a pitcher. 




Fig. 9. — Candlestick. 



Fig. 10. — Welsh hat. 



Chinese Mandarin (Fig. 13). Turn the Eastern Water- Jug upside 
down, and place it upon your head. Slight facial contortions can 
always be made with good effect whenever the three hats included 
in this list are formed. 




Fig. 11. — Flower vase. 




12. — Eastern water-jug. 



The first fold (A, Fig. 1) must next be opened on both sides. 

Sentry Box (Fig. 14). Pull round the two corners of one end until 
they meet, allowing the other end to hang down to its fullest extent. 

Wash Bowl (Fig. 15). Pull round the corners of both ends until 
they meet, and press the pleats together. 



PAPERGRAPHY 



223 



Foot-Bath (Fig. 16) . Still grasping the ends of the wash bowl, draw 
the pleats out as far as possible. 

Fatigue Cap (Fig. 17). Turn the foot-bath upside down and 
place upon the head. 

For the remaining papergraphs, all the folds must be opened. 





Fig. 13. — Chinese Mandarin. 



Fig. 14. — Sentry box. 



Dumb-Bell (Fig. 18). With the folds open on both sides, pull the 
pleats round into a cylinder. Then grasp the dumb-bell by the center 
with your right hand, and bending your forearm, flex the biceps as 
though exercising. 

Bon-bon (Fig. 19). Bend the paper round the reverse way to that 
forming the dumb-bell. 




Fig. 15. — Wash bowl. 



Fig. 16.— Foot-bath. 



Granny's Cap (Fig. 20). Open out the pleats, and place the paper 
upon the head, pulling the sides down over the ears, to the chin. 

After a little practice, all that it is necessary to do in order to 
give a successful entertainment is to learn the correct order in which 
the transformations take place. 



224 HOME FUN 

For the first two or three performances it is a good plan to write out 
a list of the various " folds " upon a small slip of paper, which should 
be placed in such a position that a hasty glance 
can be thrown at it in case of the memory failing. 

As will doubtless have been noticed, the different 
folds have been so arranged in the article that each 
transformation leads up to the next. It is there- 
fore of great importance that the performer should 
remember their correct order. Otherwise he may 
suddenly find himself attempting to make a fold 
with only one pleat opened, when really three are 
required. 

It is at such moments as these that the young 
entertainer wishes the ground would open beneath 
him, that a cyclone would whisk him away, or that 
any other phenomenon might occur which would carry him beyond 
the gaze of his inquisitive audience. 




Fig. 17. — Fatigue 
cap. 





Fig. 18.— Dumb-bell. 



Fig. 19. — Bon-bon. 



When making a fresh transformation, the performer should move 
his arms gently from side to side, and sway 
slightly from the hips — very much as though he 
were holding a concertina. This will lead the 
audience into the belief that he is engaged upon 
some extremely difficult fold, and will completely 
hide the simple movement he is really making. 

If the performer is a good elocutionist, and 
possesses plenty of self-confidence, he might 
prepare some " patter " to go with the per- 
formance. An excellent alternative, however, is 
to ask somebody to play a dreamy waltz from 
the piano throughout the performance. 

It will then only be necessary for the enter- 
tainer to make a few T introductory remarks before 
commencing his "show"; to announce the name of each transforma- 
tion as he makes it, and finally to thank the audience for the attention 
with which they have followed his few experiments in Papergraphy. 




Fig. 20. — Granny's cap. 



CHAPTER XXVIII 

JUGGLING 

How to Master the Principles of the Art 

There is no reason why any boy possessed of an average amount 
of dexterity should not be able to perform many juggling tricks after 
a certain amount of careful and patient practice. By a close study of 
the following instructions, a clear idea of the principles of the art can 
be obtained; and when these principles have been mastered, the 
beginner should have no difficulty in elaborating the tricks to 
suit his own fancy. Cj 

As the system of juggling with knives, plates, or clubs is 
founded entirely upon the methods employed in manipulating i 
balls, the simplest plan is to learn the tricks with these last J 
before adapting them to larger objects. 

Any kind of ball may be employed for juggling, but the 
specially-prepared balls, made of heavy metal, are the best, j 
and can be purchased for a small sum in a set of four from i 
any dealer in games. I 



i. The Vertical Fall 




A ball should be thrown into the air in such a manner 
that it will descend to the exact point from which it was 
projected, as in Fig. I. It is quite unnecessary to throw the 
ball higher than four feet. By an observation of the usual 
method of catching a ball, it will be noticed that the hand 
usually follows the course of the ball; but the great object Fig. i.— 
of the juggler is to learn to catch without moving the 7 if e «" 
hand from the position it occupied when throwing the ball 
into the air. 

The great point of the vertical fall is to teach the beginner to move 
his hands as little as possible, and for this reason the exercise should 
be practiced with both right and left until such precision is acquired 
that the movement can be accomplished with the eyes closed. 

225 



226 



HOME FUN 



2. Inside and Outside Falls 

The inside fall is done by throwing the ball with the right hand, in 
such a way that it describes a curve and drops towards the left, as 
in Fig. 2. But instead of catching it with the left hand, catch it with 
the right by a rapid movement of the hand across the body. The ball 
being held in the right hand, it should be thrown back from left to 
right in a similar way, as in Fig. 3. The latter is called the outside fall. 

This exercise is intended to teach the beginner to throw the ball 
several times in succession from side to side without its deviating 




\ 



Fig. 2. — The inside fall. 





A\' . , 



Fig. 3. — The outside fall. 




from its course. The principle involved is very important for 
jugglery, and must be thoroughly acquired before proceeding with 
other tricks. 

3. The Parallel Fall 

This fall presents greater difficulties. The ball should be thrown 
with the right hand, as in the vertical fall, although the hand must be 
kept in a line with the shoulder. As soon as the ball has been caught, 
the hand must be rapidly brought into line with the left shoulder, the 
ball thrown from that position, and caught (Fig. 4). 

Having learned the trick with the right hand, it is essential to 
become accustomed to perform it equally well with the left hand, 
moving it to the right shoulder. 



JUGGLING 



227 



4. Falls from Right to Left 

Both hands are required for these falls, which are simply an 
adaptation of what has just been described. The ball should be 



o 



Q 



.0 



\/'' 



! 

1/ \ 




Fig. 4. — The parallel fall. 






Fig. 5. — Falls from right to left. 



thrown exactly as described in No. 2, but instead of moving the right 
hand across the body to catch the ball when it falls on the left side, the 
left hand should catch it, as in Fig. 5, and should immediately return 
it by means of the outside fall to the right hand. But little practice is 
required to learn this perfectly, and when smartly performed it makes a 
pretty display. 

5. The Horizontal Pass 

In this exercise the ball should be thrown from hand to hand 
in as straight a line as possible (Fig. 6), whilst the beginner must 




L — -O — 




Fig. 6. — The horizontal pass. 

endeavor, by continually increasing the distance between his hands, 
to maintain a rapid volley. 



228 



HOME FUN 



6. The Double Vertical Fall 

This is the first trick requiring two balls, and will need some 
attention. A ball should be taken in each hand, and the simple 
vertical fall performed with the right. Before this ball has descended, 
however, the ball in the left hand must be thrown in the air, as in 
Fig. 7, so that the two balls are continually in motion. It is at this 





O 



O 




Fig. 7. — The double vertical fall. 



Fig. 8. — Variation of double fall. 



point that the juggler will find the advantage of being proficient in the 
use of both hands for the single vertical fall. 

A variation of this double fall can be acquired in the following 
manner : — 

Both balls should be thrown up at the same time, as in Fig. 8, 
the hands being kept about two feet apart, care being taken that 
neither of the balls is thrown higher than the other. 

The beginner must practice these thoroughly unfil perfectly ac- 
customed to having the two balls in motion simultaneously. 



7. The Double Inside Fall 

This is a repetition of the outside and inside falls, but performed 
with two balls at once, and with both hands. The utmost care must 



JUGGLING 229 

be exercised to avoid a collision as they pass one another, and for this 
reason one ball must be thrown higher than the other, as in Fig. 9. 
Until proficiency is attained the balls should be thrown at various 
heights, and the hands well apart. 

8. The Triple Pass 

Having acquired the last trick perfectly, the beginner should now 
bring into use a third ball. A glance at Fig. 10 will show that the 
triple pass is nothing but the double inside fall performed with an 
additional ball. 

Two balls are held in the left hand, and one in the right, the 
former being numbered 1 and 3, and the latter 2. Ball No. 1 is 





s 

,' s' 

I / 

t I ,' 



! 1 t 



Fig. 9. — The double inside fall. 



Fig. 10. — The triple pass. 




thrown from the left hand, and as soon as it is in the air, No. 2 is sent 
off from the right, after which No. 3 is thrown from the left hand. It 
will be noticed from Fig. 10 that No. 1 is sent the highest and No. 3 
the lowest, and by this means a collision can best be avoided. The 
greatest care must be taken to throw the balls regularly, otherwise 
confusion will ensue. 

To keep up the volley, each ball must be sent off again as soon as 
it has been caught, so that after the first throw neither hand holds 
more than one ball at a time. 



9. The Triple Over Pass 

The only difference between this and the Triple Pass is that each 
ball, as thrown, passes over instead of under the ball that precedes. 



230 HOME FUN 

This is shown in Fig. n, where No. 2 passes over No. 1, whilst No. 3 
is thrown the highest of all. This trick is usually combined with the 
ordinary Triple Pass, and from the spectator's point of view presents 
no difference. 

10. The Shower 

This is one of the prettiest of all the tricks of Juggling, and should 
be learned with two balls. Take a ball in each hand and throw the 
right one in the air towards the left, whilst as soon as it is in the air 
pass the left hand ball to the right hand, as in Fig. 12. The moment 



Fig. 11. — The triple over pass. Fig. 12. — The shower. 

this latter ball has been caught it must be thrown up in the wake of 
the first ball, and the whole trick continued as quickly as possible, so 
that one ball is always in the air. 

This should be practiced continually until perfection is attained, as 
it forms an introduction to* — 

n. The Triple Shower 

Two balls must be taken in the right hand, and one in the left. 
The first two should be thrown in rapid succession from the right to 
the left, the ball in the latter hand being passed to the right, as in the 
Simple Shower. As each ball reaches the left hand pass it rapidly 
across, as in Fig. 13, and start it off in the air once more. 

The trick has the effect of making the spectators imagine that you 
have a large number of balls in your hands, and the more quickly the 
trick is done the greater the deception. By starting with three balls in 
the right hand and one in the left a still prettier display can be provided 



JUGGLING 231 

with little extra trouble. In this case, however, the balls will have to 
be thrown rather higher to give the left hand more time to catch the 
balls and pass them successfully. 

As a final exercise the beginner should learn — 

12. The Double Over Fountain 

Four balls are required for this, a couple being taken in each 
hand, Nos. 1 and 3 being in the left and Nos. 2 and 4 in the right 
hand. 

Nos. 1 and 2 are thrown up simultaneously in the simple Vertical 
Fall, as in A, Fig. 14. The hands are then rapidly moved apart and 








ft * ;. 



Fig. 13. — The triple shower. 



Fig. 14. — The double over fountain. 



balls Nos. 3 and 4 are thrown over the first two balls in such a 
manner that they cross each other and are caught in the opposite 
hands (Fig. 14). The volley with those two balls is immediately 
returned and the hands are brought nearer together to catch and 
throw Nos. 1 and 2 again. Thus the fountain is kept up indefinitely. 
It will be observed that the two hands constantly approach and separate, 
as the two sets of balls are caught in turn, and such action must be 
very smartly performed. 

The substitution of clubs or knives for balls can be easily effected, 
although the performance is none the better for the change. In 
using knives, the juggler should see that the handles are well 
weighted to insure that part of the object falling into his hand. 



232 HOME FUN 

The substitution of knives is not sufficiently interesting to compensate 
for the additional risk, and the amateur may very well dispense with 
them. 

Plates and clubs are equally unwieldy, and the juggler can scarcely 
do better than content himself with the plain balls, the manipulation of 
which is certain to provide a pretty and interesting entertainment at 
all times. 



CHAPTER XXIX 

PLATE-SPINNING AND WALTZING 

An Exciting Entertainment 

Few things are productive of such literally breathless interest as 
plate-spinning. In what a state of agonized anxiety your audience will 
be as they watch you imperturbably spinning a soup-plate on the end 
of a rod. How they will catch their breaths as they expect it to 
fall, and how surprised they will be when it keeps its position! Yet 
if you inform them that it is not so difficult as it looks, you will be 
stating a fact, although the art is acquired only after considerable 
practice and at the cost of several plates. 

To minimize the breakage of crockery it will be as well to begin 
your experiments with a mattress laid upon the floor, or failing this, 
with a good substantial down comforter. The first attempts will not then 
be accompanied by such mortality amongst the plates. 

Procure a rod or wand upon which the plates are to be spun. A 
round stick, about 2 feet long, 
is the most suitable for the pur- 
pose. Care should be taken to ^ . . 
r . . . . , , . tig. 1. — Spinning wand, 
see that it is straight, and it must 

be well sand-papered in order to remove any roughness (Fig. 1). 

Now reduce one end of the stick to a dull point, which must 
further be prepared by a rather strange process. Place this pointed 
end in your mouth and moisten it until it is quite soft and all the 
hardness of the wood has been removed. When properly softened 
the fiber of the wood will remain whilst all the " starch " — if one may 
so call it — has disappeared. This preparation gives the stick a certain 
grip on the plate which is indispensable for successful spinning. 

Next take a soup-plate, as in Fig. 2, and make it revolve rapidly 
upon the dull end of the rod. To do this the following instructions 
and hints should be noted. 

The rod should have a rapid circular motion imparted to it by the 
wrist, so that it cuts a circle of about the same circumference as the 
soup-plate. The arm should be motionless, the whole movement 

233 



234 



HOME FUN 



being confined to the wrist. The beginner must not expect immediate 
success, but after considerable practice the knack of describing i 
circle with the end of the rod will be acquired. 

Now, by making these circles with the plate upon the end o. 
wand you will find that the plate itself begins to spin rapidly, aiui 
length, when it has attained a certain velocity, it finds its center upou 
the point of the rod and revolves so steadily as to appear motionless 

(Fig- 3)- 

Practice spinning with the left hand as well as with the right, for 

in many cases it is necessary to transfer the wand from one hand to 




-^T^ 



Fig. 2. — The first 
stage. 



Fig. 3. — The plate finding its 
center — second stage. 



the other. Probably you will find greater difficulty with the left 
hand, but perseverance is all that is required — perseverance and the 
mattress ! 

It is a great mistake to choose a light plate for spinning. The 
heavier it is the easier it will be to spin, and you will find that dishes 
(not necessarily round) will be the best spinners of all. Do not forget 
that very heavy dishes soon tire the wrist and make it too unsteady 
for successfully exhibiting other tricks. 

So far the modus operandi with unprepared and ordinary plates has 
been described. It is quite as well that the learner should begin with 
these, as the greater difficulty in balancing and spinning will have 
taught a lesson that will render him more at ease with the prepared 
plates. 

Procure another wand, which need not be " softened." Sharpen 
one end into a point, not so dull as in the former case, but with a 
dearly defined apex. 



PLATE-SPINNING AND WALTZING 



235 





Fig. 4. — Plate with drilled cavity for 

spinning. 



Prepared Plates 

As to the prepared plates. Take for example a thick soup-plate. 
From the center of the bottom of this plate a small, shallow piece 
must be drilled away, as in Fig. 4, 
which represents a section of the 
article. Any china riveter will 
do this for you, and will, at your 
request, polish the cavity after it 
has been drilled. Explain the 
purpose for which you want it done, as that will insure his making 
the hole in the dead center. 

You will now find that this plate not only spins much more easily, 
but will continue revolving upon the rod for a great while, even after 
you have ceased working the latter with your wrist. This is an 
important consideration in view of the balancing feats to be 
accomplished. 

The next thing to practice is catching the plates in mid-air upon 
the tip of your wand. This is not so difficult as it sounds, and should 
be easily learned. Toss the plate upwards, as you do so giving it a 
smart turn or twist to the right, so that it revolves rapidly upon its 
own center while ascending. 

Now bring the point of the rod under it, and as the plate reaches 
its highest point in the air it will turn over and you will have an 




Fig. 5. — Holding rod for catching. 




Plate ready for tossing. 



opportunity to get the stick into the hole in the center. The plate 
will then spin upon the point of the rod, and a few turns with the 
wrist will increase its speed and keep it going steadily for a time. 

Having mastered the principle of catching the plates in the manner 



236 HOME FUN 

described, practice holding the rod and tossing the plate with the same 
hand. 

Hold the stick near to the point and between the fingers and the 
thumb (Fig. 5), whilst the outspread fingers are in the bowl of the 
plate, as in Fig. 6. These are shown separately to give a clearer idea 
of the meaning. Now, toss the plate into the air, as has been 
explained, again giving the wrist a smart turn to the right. Bring the 
rod sharply into position and catch the plate in the usual fashion. 

Further Feats 

Take a couple of rods, one in each hand, and send a plate spinning 
on the point of the right-hand rod. By giving a sharp upward jerk 
you will send the plate high into the air, and upon its descent you can 
catch it upon the end of the other rod. If the plate has been tossed 
very high, and is therefore likely to descend with some force, care 
must be taken when catching it not to shatter it into pieces. As soon 
as the plate touches the point of the wand, lower the latter some 
distance with the plate, and thus break the force of the impact — 
instead of breaking the plate. 

This performance will prepare you for successfully achieving the 
following very effective show. Two persons are required for it, 
however, and both must be good spinners. 

Let each performer take a plate and a rod. Then both should 
spin their plates, and throw them to each other, catching the plates 
upon their respective wands. The volley may then be returned in 
the same manner, increasing the speed each time until the plates fly 
from one to the other like tennis balls. 

The first attempts will probably result in a shower of broken 
crockery, but practice will obviate such a palpable disadvantage, and 
after a time you will be able to complicate the exhibition by taking 
a rod and plate in each hand, thus having four plates flashing to and 
fro at the same time. 

Balancing 

Having graduated as a master of spinning and catching plates, the 
opportunity has arrived for attempting to balance the spinning dishes. 
This is largely a matter of knack, although a sure eye and a steady 
hand are indispensable. 

Start a plate spinning on a rod, and pass it to the left hand. Do 
the same with a second plate, holding the rod likewise in the left hand, 
taking great care, of course, that the plates do not collide. 

Now with the right hand start off a third plate, and balance the 



PLATE-SPINNING AND WALTZING 



237 



rod upon your forehead or chin, having done which pass one of the 

rods back from the left to the right hand. This makes quite a pleasing 

exhibition, as can be seen by Fig. 7, and is well worth learning. 

Presuming you are now facing the specta- 
tors, with the three plates spinning as in Fig. 7, 

the question naturally arises, how to stop the 

plates in a graceful manner? There are 

several ways of doing this, but the following 

will be found the simplest. 

Lower the rods in the two hands simul- 
taneously until the plates can be grasped in 

the fingers. Then, with the plate and rod 

still balanced upon your face, lay the two 

plates upon a convenient table, and taking 

one of the rods transfer the rod upon your 

chin to its point, and thus balancing one upon 

the other bring the plate to rest. 

Supposing you have a plate spinning upon 

a wand, balanced upon another as in Fig. 8, 

practice the following method of dispensing 

with one of these rods. 

By a sharp upward movement jerk the 

plate into the air from the point of rod No. 1. 

This will, of course, by relieving the stick of 

its burden, make it fall. You then catch the 

falling rod smartly with the other hand. But you must not forget 

during this time the plate which you have sent, still spinning, towards 

the ceiling. Upon its descent catch it neatly 
upon the tip of wand No. 2, and the trick is 
completed. 

Such are the rudiments of the arts of 
spinning and balancing. Having acquired 
a thorough knowledge of the various exer- 
cises and feats described, the amateur 
spinner will have no difficulty in inventing 
new things for himself, and will be able to 
emulate the feats of professional jugglers. 
Much patience and long-suffering are neces- 
sary, but with a quick eye and a sure hand 
any person should not be able to provide 




Fig. 



-Plate spinning and 
balancing. 




Fig. 8. — Plate being spun upon 
two rods. 



there is no reason why 

a good plate-spinning entertainment. 



238 



HOME FUN 



Fig. 9. — Showing section of table 
prepared for plate waltzing. 





Plate Waltzing 

There is a kindred branch of the art which may be described here, 
and that is plate waltzing. It is really nothing but an extension of 

the trick of spinning a coin upon the 
^>^^i^^ table, which every one has done at 

some time or other. 

A perfectly level table is essential. 
To insure this it is a good plan to 
have a smooth, unpolished board that can be laid upon a table and 
made perfectly level by adjusting small pieces of cardboard at the 
corners. Around the edge a slight 
border should be made, rounded 
to the surface of the board, as 
shown in Fig. 9. This will pre- 
vent the plates 
from dancing off 
the table and on 
to the floor. 

Plates of any 
description and 
size, from the del- 
icate tea-plate to 
the burly wash- 
basin are eligible 
for the dance ( Fig. 

10). 

The following is the easiest way to start twirling 
a plate. Take a dinner-plate and stand it upon its 
edge on the table with the bottom of its upper edge 
resting against the extended forefinger, as in Fig. 11. 
Describe a small circle with this finger rather quickly, 
and the plate will follow its motion. Continue passing 
the finger round and round, accelerating the motion 
with each revolution. The plate will then begin to 

Fig. II— How to set revolve very quickly. Take your finger away when 
" it has acquired sufficient impetus, and leave the plate 

to dance by itself. 

Begin learning with one plate. You will find that as it loses its 

impetus it begins to go slower and slower, tending to settle bottom 

upwards upon the table. But this is where your skill must be proved 

in preventing the fall from lack of momentum. 



Fig. 10. — The plate waltz. 



PLATE-SPINNING AND WALTZING 239 

Whilst the plate is revolving and before the first signs of falling 
are apparent, touch the bottom of the plate fairly near the center with 
the tip of your finger, moving this latter round in the direction followed 
by the plate. This will have the effect of preventing the fall, and will 
send the plate dancing on with renewed vigor. 

Considerable experience will be required to perform this success- 
fully, as the exact spot to be touched with the finger can only be 
ascertained after much practice. 

Large and heavy plates make the best dancers, and it will be 
necessary sometimes to use two fingers when preventing the fall, for 
the pressure must in all cases be firm and steady. An ordinary plate 
is better than a soup-plate, for not only is it more elegant, but its even 
poise renders the revolutions steadier. 

Practice the use of both hands, remembering, however, that the 
plates will revolve in different directions according to which hand you 
use. The right hand will send a plate twirling from left to right, 
whilst the left hand causes an opposite motion. 

The plates will keep admirable time to regular waltz music, and 
produce a pleasing effect. Keep your eye upon all of them, being 
ready to render assistance to any of your dancers that show signs of 
subsiding upon the table. 



CHAPTER XXX 

THE TIGHT-ROPE 

Trick Balancing 

There are probably few actions more graceful than those of a skillful 
equilibrist. The necessity of maintaining a symmetrical posture and 
disposing the body in a well-balanced manner can produce nothing 
but a pleasing effect. To a lithe and healthy boy there are endless 
opportunities for creating new figures, whilst many will find an attrac- 
tion in performing feats rarely attempted by any but professionals. 

The whole strain of tight-rope walking is centered in the back. 
The rigidity of the legs is also an important factor in maintaining the 

balance. For this reason no child 
under ten years of age should ever 
be allowed to attempt anything of 
this sort, for his bones and muscles 
will not be sufficiently developed 
until then. 

All the arrangements for a tight- 
rope exhibition can be made in an 
ordinary drawing-room. Very few 
fixtures are required, and the fol- 
lowing instructions will give an idea 
of what must be done. 
Fig. i.— Method of fixing bars of wood. The rQpe s h ou ld be about four 

feet from the ground, although if the room is lofty the rope may be 
even higher. A length of good strong sash-cord should be used, and 
thoroughly tested before every performance. 

Assuming that the rope is to be stretched at a height of 4 feet, 
the supports should be made in the following manner : — 

Two stout bars of wood, not less than 1 inch in diameter and 
6 feet long, should be fastened together in the form of an irregular 
St. Andrew's Cross, as in Fig. 1. They must be fastened by running 
a bolt through them at a distance of 1 foot from the top. The 
lower ends should then be beveled off at such an angle that the bars 
will rest evenly upon the floor. To these beveled ends a metal plate 

240 




THE TIGHT-ROPE 



241 



should be fastened, projecting outwards, with a hole through which a 
thumb-screw can be passed, as shown in Fig. 2. These plates, together 
with the metal screw-plate, which should be fastened over the holes in 
the floor, can be bought for a few cents from any 
hardware store. The cross-pieces can then be erected 
and screwed into position, as shown in Fig. 1. 

Strong hooks should now be driven into the 
floor just below the wainscoting and in a line with 
the screw plates. Lengths of very strong wire are 
to connect these hooks with the cross at H (Fig. 1). 
When it is remembered that these pieces of wire 
bear the whole strain of the rope, it will be evident 
that too much care cannot be exercised in making 
them secure and trustworthy. 

A similar cross with its attachment must then 
be erected at the other side of the room where the 
tight-rope is to terminate. At the spot H of this 
latter cross a piece of bright-colored cloth should 
be fastened, for a purpose which will appear later. 

The rope can now be stretched between the crosses, every care 
being taken to see that it is securely fastened and is not in the least 
slack. 

To simplify explanation, the two ends of the rope, with their 
respective supports, will be called A and B, the latter having the piece 
of colored rag. In Fig. 3 will be seen the arrangements so far 
completed. 

For the purpose of mounting the rope and resting between the 
turns, a pair of steps should be placed between A and the wall, and so 
adjusted that the top step is on a level with the rope, or even slightly 
higher, say at 4^ feet. 




Fig. 2. — Metal plate 
and screw. 



The Balancing Pole 

There is much difference of opinion amongst acrobats regarding 
the balancing pole. Some prefer it long and heavy, whilst others 
dispense with it altogether. Amateurs can scarcely hope to do the 
latter, however, and 4 ft. 6 in. may be considered a suitable length. 
The pole should be smooth, round, and even, rather heavier than 
an ordinary broom-handle. It will probably prove useful to mark 
its exact center by a notch. 

A mattress must be laid beneath the rope to break any falls. 
Thin-soled dancing pumps should be worn, the soles being well 
chalked before use. 

Such is the apparatus connected with the public performance of 



242 HOME FUN 

tight-rope walking. The first attempts should be, however, on a rope 
suspended much lower, not more than i foot from 1 the ground, as it is 
useless to try a high rope until the knack of balancing has been 
acquired. 

The assistance of two friends will be necessary for the first few 
trials. Each must hold a strap fastened around the performer's 
waist to support him until he has learned to find the center of 
gravity. As he grows accustomed to the work their help will become 
less necessary, and he will soon be able to dispense with their services. 




Fig. 3. — Tight-rope ready for walking. 



With the pole balanced in his hands, his eyes fixed steadily upon the 
colored rag at B, known as the " point of sight," and, supported by 
his two friends, the first essay is made upon the rope. The feet should 
be turned out as much as possible, and at each step the heel first and 
then the great toe placed upon the rope. 

The u Forward Walk " 

According to the recognized canons of the art, the first thing to be 
learnt is the " Forward Walk." The gaze must never leave the " point 
of sight." Each step must be made with the utmost care, and perfect 
confidence gained before any attempt is made at more difficult tasks. 
As soon as the feet begin to feel sore or tired, practice should be 
abandoned for that day. 



THE TIGHT-ROPE 243 

The next thing to be learned is walking backwards. This is really 
no harder than the " Forward Walk " and can be as easily acquired. 
The eye should be steadfastly fixed on the rag as in the former case. 
With the amateur there is always a tendency to run. This must be 
checked, and a stately gait acquired from the beginning. 

After the " Forward " and the " Backward " walks comes the 
" Forward Spring." Both this and the " Backward Spring " are 
difficult, and can only be learned by constant practice and patience. 
There will doubtless be a price to pay in the way of harmless falls 
and stumblings, but everything can be learned in time. Indeed, few 
instructions can be given that would prove of any real assistance to 
the beginner. When once a person has learned to ride a bicycle, the 
matter of balancing comes naturally; so with rope walking. As soon 
as the tyro has gained confidence and experience on the rope, the 
difficulties of the " jumps " will gradually disappear. 

Having learned the walks and leaps on the tight-rope, it only 
remains for the performer to adapt them according to his own ideas. 
The aim and object of every professional is to produce some novelty 
in his branch of the art, and the amateur must imitate him in thinking 
out some effective show to be produced " up aloft." The great Blondin 
used to wheel out a barrow and cook his pancakes upon a rope sus- 
pended at an incredible height, and it is in ideas such as these that the 
art of successful tight-rope walking consists. 



CHAPTER XXXI 

CLOG DANCING 

A Novel Entertainment 

When the old Morris Dances decayed in the country districts of Eng- 
land, many of the local customs and manners died with them, and are 
now entirely lost; but what is considered a survival can yet be found, 
and is familiar to many of us under the name of Clog Dancing. 

The old Morris Dancers had attached to their ankles bands of 
bells, which sounded with the jerking and kicking of the dancers' 
feet as they kept time with the measure and music of the accompani- 
ment. 

The use of these bells has now, however, almost entirely ceased, 
and the heavy wooden clog alone remains. In place of the ringing 
and jingling, with which the Morris man accompanied his dance, the 
clog makes only a tapping against the floor, sharper in its precision, if 
less musical than the old bells. 

The clogs suitable for drawing-room dancing have wooden soles 
and leather " uppers." These can be obtained in endless variety, from 
the plain black or red morocco, to the stylish patent leather shoes. 

But whatever the style or make of the clogs, one thing is essential 
— they must fit perfectly. The appearance matters little, so long as 
the clogs are an exact fit. Nobody present cares to see your feet, but 
everybody desires to see a skillful dance, and that cannot be performed 
with a loose shoe. 

Having obtained the shoes, the next thing to arrange is the floor. 
A smooth wood floor, or a slate slab, provide excellent surfaces for 
practicing and learning upon, while for the actual drawing-room per- 
formance, a thick, smooth piece of wood, about two and a half feet 
square, and neatly polished, is very suitable. This can be moved at 
pleasure, and taken away after the performance is concluded, without 
any awkward rolling back of carpets or moving of furniture. 

It is necessary now to devote a little attention to the more impor- 
tant steps to be learned. In the diagrams illustrating this subject 

244 



CLOG DANCING 245 

the letter R denotes the right, and L the left foot, and this must be 
constantly borne in mind to make the illustrations intelligible. 

The first and most important thing to remember, is to keep the toes 
well turned outwards wherever the nature of the figure does not render 
this impossible. A glance at Fig. 1 will illustrate this. In all the steps 
practice with the left foot is needed more than with the right, as the 
latter can generally be trusted to take care of itself. 

The First Step 

The first step to learn is the shuffle, which should be attempted 
with one foot first, preferably the left. 

Stand firmly upon the right foot, and strike the left toe forward 
(as in Fig. 2) towards A, at the same time making a tap upon the 




A 
v. 




* 



6 



Fig. 1. — Correct standing position. 



Fig. 2. — The single shuffle. 



floor. Draw it back from A towards B, making another tap. This 
should be done repeatedly until it is possible to make the taps in quick 
succession and in even time. 

Having mastered this with the left foot, acquire the same pro- 
ficiency with the right. The ankle must be kept loose and mobile. 
Any stiffness or inflexibility will utterly spoil all efforts. 



Single and Double Shuffles 

Having become familiar with the two taps with both feet, attempts 
to use right and left alternately should be made, the while standing 
upon the toes. Thus : left forward and back, two taps ; right forward 
and back, two taps, making in all four taps in rapid and even suc- 
cession. 

This is known as the single shuffle, and it is surprising how many 
music hall artists and public performers know no more than this rudi- 
mentary movement. Yet it shows how necessary it is to be perfectly 



246 HOME FUN 

easy and familiar with the action, which may be considered, together 
with the double shuffle, as the ground-work of the art. 

The double shuffle is simply a duplication of the single shuffle. 
Each foot goes forward and backwards twice, making four taps for the 
right and four for the left, or eight taps in all. This is really no harder 
than the single shuffle, and must be learned as thoroughly. Indeed, it 
is wise to practice no more steps until these two shuffles have been 
perfectly mastered. 

Having grown familiar with the steps already described, it is time 
to learn some of the variations of the two shuffles. Begin with the 
single shuffle and 

Variation No. 1. — Stand upon the toes of both feet, give one tap 
with the left toe, and a single shuffle with the right foot. Then one 
tap with the right, and a single shuffle with the left. Keep this up 
continuously, and as clearly and rapidly as possible, taking care that 
the beats are all equal, and that no one tap is louder than any of the 
others. 

The result will be a continuous roll, like that of a drum, and is very 
effective. 

Variation No. 2. — Give one tap with the left foot, and a shuffle with 
the right, as in the preceding step, then hop on the left, tap with the 
right, shuffle with the left, and hop on the right. This makes eight 
taps in all, and produces another continuous roll. By pausing on the 
hop each time, another step is apparently introduced, and the smooth 
action is varied pleasantly. 

The hopping mentioned above does not mean a skip into the air. 
It is simply employed to give a tap, and is more for the sake of appear- 

y ance than for actual sound. 

v / / It can therefore be replaced 

C s >v 1 j r< by making a tap with the heel, 

\ \** / >C A which is in itself a prominent 

\\V) / / vmEs ^ eature m tne Clog Dance. 

V \ ^-^ JjL«/ JK/ Indeed the tap from the heel 

t^N n W^j^&S is often preferable as being 

^o ^*'^v^feK more characteristic and ele- 

" gant than the hop, which has 

to be done most gracefully to 
(/\} (B) look at all well. 

' „«,.-, . Variation No. 3. — Make 

Fig. 3. — The third variation. . , , - -, 1 m 

one tap with the left toe, shuffle 

with the right foot, tap with the left heel, and bring the right toe behind 

the left foot, as in Fig. 3, A and B. 

This must be learned carefully, and repeated in the opposite way 



CLOG DANCING 247 

— that is, tap on right toe, shuffle with left foot, tap with right heel, 
and finish up by bringing the left toe behind the right foot. 

Practice both of these steps, and introduce them, one after the other, 
in the actual performance. 

Variation No. 4. — Make one tap with the left toe, shuffle with right 
foot, tap the right toe, shuffle left foot, tap with right heel, and finish 
with the left toe behind the right foot, as in Variation No. 3. This 
should be learned and repeated in the reverse way to the former step, 
and the two should be similarly combined to make one continuous 
action, which is really elegant to watch. 

Variation No. 5. — Make one tap with the left toe, a shuffle with the 
right foot, another tap with the right toe, then a shuffle with the left 





Fig. 4. — The fourth variation. 



Fig. 5. — The fifth variation. 



foot, a hop on the right toe, finishing with a tap with the left toe either 
behind the right foot, as in Fig. 4, or in front of it, as in Fig. 5. Learn 
to do this with the feet reversed as before. 

If this step be done properly, the result will be a continuous rattle, 
which can be kept up indefinitely, the repetitions and reversals follow- 
ing one another without break or pause of any kind. 



Variations of Double Shuffle 

These variations require no detailed description. Wherever in the 
above-mentioned changes the single shuffle is mentioned, a double 
shuffle may be introduced. For example, in Variation No. 1, for the 
double shuffle the instructions should read : Stand upon the toes of 
both feet; give one tap with the left toe, and a double shuffle with the 



248 HOME FUN 

right foot; then one tap with the right, and a double shuffle with the 
left. 

By treating the other variations in a similar manner, it will be seen 
that ten variations of the single and double shuffles can be obtained. 
They should all be learned and practiced until there is not the least 
difficulty in performing any one or all of them. 

The Slide 

There now remains but the Slide to be learned, and as this is one 
of the prettiest of all the clog steps, it is well worth taking pains properly 
to acquire. 

Stand as in Fig. 6, throwing your weight on the left heel and right 
toe, which are to be kept stationary. Now move the left toe and the 



R 





3 




Fig. 6. — The slide (first position) 



Fig. 7. — The slide (second position) 



— X 



right heel in the directions shown by the dotted lines. Your feet will 
then be in the position shown in Fig. 7. Keep the left toe and the 

right heel stationary, and move the 
left heel and right toe in the direction 
indicated by the dotted lines in Fig. 8. 
By continuing this movement you 
have a steady gliding action from left 
to right, and, reversing the steps, you 
can, of course, move back from right 
to left. 

This is really a hornpipe movement, 
but for clog dancing it is very suitable 
for the introduction of taps with heels 
and toes at every change of position. 
It is also possible to introduce shuffles during the movement, but the 
plain taps are probably more effective and quite difficult enough to 
learn without the introduction of more complicated movements. 




Fig. 8. — The slide (third position). 



CLOG DANCING 249 

It is possible to dance in clogs to any time, or even against time. 
Acquire the steps accurately and readily, and the measure will take 
care of itself. To practice the shuffles and their variations, the easiest 
plan is to have sixteen bars of music of two-four time, or even a verse 
of any song set to that time. As the feet become nimble and the actions 
familiar, you will be adept at dancing to any time or measure, whilst 
with shuffle and tap your feet will twinkle in the most orthodox and 
poetic manner. 

Practice in the steps described will also enable you to invent move- 
ments for yourself, such as jumping in the air, striking the clogs to- 
gether once or twice, rattling the clogs together on the ground, and 
numberless other. side tricks and fancies. The regular steps are gen- 
erally considered the best, however, and should always be executed 
when possible, as they form the essence and genius of the whole art. 

Clog dancing is tiring, and it is advisable not to make the dance 
the central piece of an evening's entertainment. It makes a good 
accompaniment or " gag," but is not suitable for a pidce de resistance. 
Adroitly performed it will win approval; and what more can the home 
entertainer desire? 



CHAPTER XXXII 

SHADOW SHOWS 

Hand Shadows 

Few of us have not lain in bed by candle-light and with more or less 
success cast shadows upon the wall. Some may have seen public enter- 
tainments in which shadow pictures formed an important part of the 
programme, and have wondered in a dim kind of way how they were 
done. From what follows it will be seen how very simple are the 
arrangements, and how admirably adapted for a drawing-room enter- 
tainment a shadow theater can prove. 

Shadow shows may be divided into three kinds. They are: — 

1. Hand Shadows — in which the performer stands in view of 

his audience. 

2. Figure Shadows — in which he stands behind a screen. 

3. Puppet Shadow Shows — in which the shadows of lay figures 

are exhibited. 

Of these three branches of the art, Hand Shadows are distinctly 
the easiest to do, but they do not give scope for great variety, and 
although very good in their way, like most good things, are apt to pall 
upon an audience, who, it must ever be remembered, have an insatiable 
taste for novelty and change. 

A screen of white cloth about three feet square should be fastened 
to the wall and drawn taut, so as to have no fold or crease. A large 
sheet of perfectly smooth white paper will make an equally satisfactory 
background. 

The best light for casting shadows is given by a candle, which 
should not be lighted until a minute or so after the lights have been 
turned out. This will have the effect of making its light appear all the 
more brilliant. 

Before attempting to give an exhibition of the various shadows, 
exercise the fingers to make them pliable. Clench the fist and try to 
raise one finger without moving the others. Raise each finger in turn 
and they will soon become supple; then you may commence learning 
to make the pictures. 

250 




SHADOW SHOWS 251 

The candle should be on a level with the hand, and you must 
stand rather to one side of the 
screen, in order that your body 
may not interfere with the view 
of the audience. 

How to Make the 
Pictures 

In Fig. 1 you see the well- 
known rabbit, usually the first FlG t __ A rabbit 
shadow made by the amateur 

performer. Stretch the right thumb down and the forefinger up as 

far as it will go, whilst 
the second and third fin- 
gers should be thrust out, 
slightly bent, as shown 
in the figxire. With the 
left hand crook the fore- 
finger against the upright 
forefinger of the right 
hand, bring the thumb to 
touch the last-mentioned 
finger, making a little 
loop as depicted. Stick the second and third fingers of the left hand 
upright, although slightly 




Fig. 2. — A butterfly 



bent. Your two hands 
should now appear as in 
Fig. 1, and the shadow they 
cast will be that of a rabbit. 

The butterfly in Fig. 2 
is very easily made, and 
needs little explanation. Ex- 
tend the thumbs of both 
hands, keeping the four 
fingers of each bunched 
together. 

Then cross your hands 
with the thumbs crooked in 
one another, and the butter- 
fly will be ready to flit on 
to the screen. 




Fig. 3. — A swan. 



To make the swan shown in Fig. 3, both arms must be partly 




Fig. 4. — The greyhound. 



252 HOME FUN 

bared and the right one bent upwards from the elbow. Extend the 

third and fourth fingers 
horizontally, bend the first 
and second loosely upon 
themselves and bring the 
thumb to rest naturally 
upon their tips. Hold 
the left hand easily at the 
crook of the elbow, as 
shown in the figure, and 
the swan is complete. 
Fig. 4 depicts a grey- 
hound ready to sprint. Extend the right hand thumb and close the 
fingers together. With the 
left hand bend the thumb out- 
wards, double the forefinger, 
and bring the middle finger 
down to touch the first finger 
of the right hand. 

By stretching down the 
last three fingers of the right 
hand, as shown in Fig. 5, the 
greyhound will be seen pant- 
ing as he races along, watched 
by the old countryman depicted in Fig. 6. The familiar household 




Fig. 5. — The hound panting. 




Fig. 6. — A countryman. Fig. 7. — A fireside friend. 

pet is shown in Fig. 7 as she sits warming herself by the fire. 



SHADOW SHOWS 253 

Figs. 7 A and Jb respectively suggest two other easily produced hand 
shadows, in the former, additional effect being lent by the pipe. 

When you have accustomed yourself to forming these figures quickly 
and accurately, numberless other objects will present themselves to your 





Fig. 7a. — The costermonger. 



mind, and as the fingers grow supple the characters in your repertoire 
will become more and more numerous and amusing. 

A few racy remarks about each shadow lend an interest to the 
performance and serve to keep the spectators amused. Always be quite 





Fig. 7b. — The parson. 

sure of what you are going to do and how you are going to do it; 
arrange your fingers quickly and correctly ; do not keep the same figure 
upon the screen too long, and you are sure to succeed. 

A mistake is fatal, as nothing is more dreary for the visitors than 
to watch you bungling with your fingers — uncertain how they should 
be placed. 

Figure Shadows 

These are, perhaps, more entertaining than hand shadows, but 
require much greater space, it being necessary to arrange them some- 
what after the manner of tableaux. 



254 HOME FUN 

A white sheet must be drawn completely over one end of the room, 
as S in Fig. 8, whilst near the opposite wall three boxes of varying 
height should be arranged as A B C in that figure, a candle being placed 
upon the middle one. 

There should be no other light in the room, upon either side of the 
screen. 

When the performer enters by the door D his shadow is thrown 
upon the screen in a natural size, but as he retires from the screen 




D 



I 




K 



Fig. 8. Arrangement of screen for figure shadows. 



and approaches the candle, his shadow increases to enormous dimen- 
sions, and very funny effects will be produced. 

A couple of performers may have a fight, the one near the candle 
apparently being of gigantic stature, whilst the other close to the screen 
is of ordinary build. 

With a little practice it can be so managed that the two figures, 
although in reality at some distance from one another, appear to come 
to blows, and the incongruity of their respective statures makes the 
giant and dwarf fight of breathless excitement. 

To add to the ridiculous situation, the giant can be given a knock- 
out blow by the dwarf. A very small man can be made to make love 
to a huge woman, vainly endeavoring to reach her face in order to 
imprint a kiss upon her colossal lips. 

Another amusing picture is to show a figure with a very swollen 
cheek. This illusion is best produced by tying a ball of worsted to 
the face. The dentist then approaches with a pair of large tongs in 



SHADOW SHOWS 255 

one hand and a carving knife in the otlier, opening and closing the 
tongs with fierce relish. Grasping the patient firmly by the throat, he 
extracts a large molar, made of cardboard stuck between the worsted 
and the cheek. Then, brandishing aloft the cause of his client's 
trouble, he slices off the swollen part of the sufferer's features, de- 
taching the worsted, and proudly exhibits patient and tooth to the 
audience. 

The Disappearing Man 

A surprising effect to be obtained in these figure shadows is the 
total disappearance through the ceiling of one of the actors. This is 
very simply done by stepping upon the lowest box (C), striding over 
(B) which bears the candle, and on to (A) which makes the shadow 
appear to leap into the ceiling. Let a figure dressed as a policeman 
rush upon the scene, hotly pursued by a sailor brandishing a stout 
stick. The two chase each other about the stage for a time, and pres- 
ently the sailor shouts very fiercely, " Get off the earth with you — get 
off!" and makes a savage rush at the policeman, who, casting one 
terrified glance over his shoulder, steps over the candle, and literally 
" gets off the earth." The sailor then bursts into a roar of laughter, 
dances a hornpipe, and retires. 

During all these tableaux a running patter should be kept up, which, 
combined with the fantastic doings upon the screen, cannot fail to keep 
the spectators in fits of laughter. Figure shadows are certainly the 
most amusing of any Shadow Shows, and are so easily done that fear 
of failure need deter no one from undertaking them. 

Almost any play can be adapted to Shadow Shows ; nursery rhymes, 
burlesques of well-known tragedies, purely farcical buffoonery — none 
will come amiss so long as there is plenty of action, whilst success is 
assured if all the actors concerned keep the ball rolling. 

At the close of the entertainment, when the last piece has been 
finished, let one of the figures appear upon the screen and repeat — 

" For in and out, above, about, below, 
Tis nothing but a magic Shadow Show, 
Played in a box whose candle is the sun, 
Round which we phantom figures come and go." 

This will please the grown-up members of your audience who have 
read Omar Khayyam, and will also serve as a suitable finale to the 
evening's entertainment. Having said his little verse, the poet can then 
disappear into the ceiling. 



256 



HOME FUN 



Puppet Shadow Shows 

To work a Puppet Shadow Show is more difficult than either of 
the preceding entertainments, and requires considerable skill and in- 
genuity to present satisfactorily. As the name implies, the shadows in 
this case are cast upon the screen by lay figures, and the performers, 
of whom two are requisite, do not appear at all. 

The simplest way to make a " stage " upon which to exhibit your 
puppets is to stretch a strong piece of cord across the corner of a 

room, and hang therefrom a sheet 
which shall reach from one wall to 
the other. Some people prefer to 
stretch it across an open doorway, 
but this is largely a matter of con- 
venience, and is not always pos- 
sible. 

Before fastening up the sheet 
mark upon it a rectangle, as shown 
in Fig. 9, the rectangle being five 
feet from the bottom, two feet high, 
and four feet wide. 

Now take pieces of thick brown 
paper and tack them over the re- 
Fig. p.— Diagram of screen for puppet show, maining portions of the sheet, so 

that when completed it shall be 
entirely opaque, except for the rectangle or stage upon which your 
figures are to perform. The brown paper will, of course, be on the 
side hidden from the audience. The next thing to be considered is 
the lamp, which should have a tin reflector and a one-inch burner. 
Arrange it in such a manner that it shall hang in the center of the 
stage and some eighteen inches or two feet from the screen — -indeed 
at just sufficient distance to allow you to manipulate your figures with- 
out coming into collision with the light. 

If possible shut out all light except that which is thrown by the 
lamp upon the stage, as the darker the room the more effective will be 
the appearance of the shadows. Take great care the sheet is so firmly 
fixed that it neither flaps nor creases. 

Having accomplished this, turn to the making of the puppets. 

The best material from which to manufacture them is thin zinc or 

tin, waste scraps of which any tinsmith will gladly sell for a mere trifle. 

With a pair of shears the metal can be readily cut to any shape, whilst 

it will also be strong enough to bear the rivets for working the figures. 



«-~4* — > Z 

1 1 

! 

5' 

v 



SHADOW SHOWS 257 

The puppets should be about six inches in height. This is the best 
way to make them. Draw the figure selected upon 
a piece of fairly thin white paper, taking care to 
accentuate all prominent points and features. Paste 
the figure — e.g. a crossing-sweeper — upon a piece of 
tin, and carefully cut the outline with the shears as 
in Fig. 10. 






Fig. 10. — Partly finished 
figure of crossing-sweeper. 



Fig. 11. — Constructing an arm 
and broom. 



Fig. 12. — The figure 
complete. 



Of course the puppets must be as comical as you can imagine, and 
should be neatly and accurately 
outlined. Notice that the fig- 
ure has no arm, as this must 
be movable, and should be made 
separately, thus : draw the limb, 
holding a broom as in Fig. 11, 
cutting it out in the same way 
as you have done the body. 

Now take a punch and 
make a hole in the body at the 
shoulder, whilst two holes must 
also be made in the arm, as 
at A and B in Fig. 11. Get 
five cents' worth of quarter- 
inch iron rivets, and place one 
in the hole B of the arm. Make a loop in a piece of No. 9 size 




Fig. 13. — A bear. 



258 HOME FUN 

wire and place it over this rivet in the arm. Next bend the rivet with 
a pair of pliers, and fasten the wire as shown in Fig. 12. Put a rivet 
through A in the corresponding holes in body and arm, and bend the 
rivet head over as before. Your crossing-sweeper is now complete. 




Fig. 14. — The elephant. 

By pulling the wire, which should run down one leg, and thus be 
invisible to the spectators, the arm can be raised or lowered from below, 
and the figure will appear to be sweeping vigorously. 

Upon this plan every other puppet may be constructed, making as 
many joints in a similar fashion as are required. 




Fig. 15. — A crocodile. 

Fig. 13 shows how to make a bear, which can rear upon his hind 
legs and also open his mouth. He will serve as an example for making 
all animals such as the elephant (Fig. 14), or the crocodile (Fig. 15). 

Set pieces such as a church or a house can be easily constructed 



SHADOW SHOWS 259 

from cardboard, as in Fig. 16, whilst a very good effect can be obtained 
from a windmill with movable sails (Fig. 17). 

It is scarcely necessary to add that the puppets needed depend en- 
tirely upon the piece you desire to represent. 

Supposing it is your intention to exhibit three separate plays in 
the course of the entertainment, three different sets of figures will be 





o 

Fig. 16. — A house. Fig. 17. — Windmill with movable sails. 

required. The younger members of an audience are quick to observe 
any repetition. 

The figures are made so easily and cheaply that it will be quite as 
well to have a complete set for each play. 

Manipulating the Puppets 

The following hints should be borne in mind when manipulating 
the puppets. Keep all the figures ready for immediate use; lay them 
upon a table in the order in which they will be required, and remember 
where they are so that you can put your hand upon them the moment 
they are wanted. Keep your own head and fingers well out of sight — 
the whole effect will be spoiled if the spectators see a great black finger 
pulling some wire or adjusting a refractory limb. Keep as calm and 
collected as possible. 

If some part of a figure sticks and refuses to move, tell the audi- 
ence, in an amusing piece of patter, that Jim, or whatever his name may 



2 6o HOME FUN 

be, has had a sudden stroke of paralysis, and must be carried away to 
the hospital. 

When there is a hitch — and this will occur even with a professional 
— pass it off with a rattle of bantering fun, making the audience imagine 
it to be part of the show. 

As the puppets are made from thin metal be careful never to turn 
them round upon the stage. March the figures off the scene with 
some quaint excuse, and introduce them again facing in the direction 
you desire. 

It is impossible to lay too much stress upon the absolute necessity 
for the showman's being ready with all kinds of patter. Funny as the 
scenes may be made with the figures alone, they are quite unentertaining 
unless all their doings can be explained with an unceasing tongue. 

From the moment your first figure appears upon the scene, until 
the last one has made its exit, a continuous flow of amusing dialogue 
and comment should keep the audience on tenter-hooks of surprise 
and excitement — shrieking with laughter over absurd remarks or in an 
agony of wonder as to what will happen next. Dull and stupid as 
patter may appear upon paper, it should certainly be written down 
and well studied before beginning the show, for impromptu fun cannot 
be relied upon. 

A lot of extempore humor can be introduced when you yourself 
have entered into the spirit of the show — but it is imperative that 
regular patter should be learned by heart. Nothing can be more tire- 
some than a halting conversation of which one party has forgotten 
the cues, whilst the other cannot remember the lines. 

If you can sing, intersperse a song or two here and there when 
there seems a suitable occasion, but be rather sparing than otherwise 
with your music. 

It may also be borne in mind that it is not necessary to have dialogue 
the whole time. A clever and amusing description of what is being 
done often proves better than a lengthy conversation in which the char- 
acters explain themselves. A few crisp remarks are worth a bookful 
of such speeches. However, when you are once fairly embarked on the 
play, let your puppets joke and abuse one another as much as they 
like. 

To conclude with a few words as to what is suitable for the Puppet 
Shadow Theater. 

The great object of every entertainment is to be funny without 
introducing vulgarity. The nature of the show necessitates fairly short 
pieces, and experience has proved that several short and amusing plays 
are more appreciated than one long piece, during the performance of 
which interest is sure to flag. 



SHADOW SHOWS 261 

Choose commonplace incidents of everyday life. An inventive mind 
will soon adapt the ridiculous side of things to a screamingly 
funny show. Do not attempt too much. With a smart patter, full 
of current expressions and allusions to topics of the time, preferably 
local, which all your audience can appreciate, the most casual events 
become laughable. 

Take, for instance, the well-known family trouble — 

The Plumber 

Figures. 

Mrs. Hoggins. Jim, the Plumber. 

Mr. Plapper Robert, the Policeman. 

Bridget, the Maid. 

With these five characters and a suitable amount of talking an 
amusing sketch can be given. The following is a mild suggestion of 
what can be done, but you will find that it can be made very much 
funnier when actually performed. 

Scene, a House (Fig. 16). 

Mrs. Hoggins emerges, loudly complaining that a pipe has burst 
and spoiled her nice new carpet. She blames everybody in the 
neighborhood, not omitting Mr. Hoggins, who is in town. " Just 
like a man: never here when he is wanted." 

She calls Bridget, and tells her to run for the plumber. Bridget 
seems unable to understand. " Sure, Mum, and the grocer came 
this mornin' and ye didn't want any fruit! " Mrs. Hoggins then 
explains matters with considerable volubility, and Bridget departs. 

Mr. Plapper rushes out, waving his arm, and complaining that 
his house will be ruined by the overflowing water. The drawing- 
room ceiling has already come down. He sees Mrs. Hoggins, and 
asks her heatedly what she means by it. That lady replies suitably, 
and they wrangle until the plumber comes, when Mr. Plapper 
retires with a few sarcastic remarks. 

Jim, the plumber, listens to Mrs. Hoggins' explanation, and 
disappears into the house to see what he can do, only to reappear 
in a moment, remarking that he must go home to fetch his hammer. 
He accordingly leaves the stage. 

Mr. Plapper returns with a policeman, relating matters so excit- 
edly that Robert is not quite sure zvhether it is a case of fire or merely 
a murder. He enters the house, and Plapper abuses the plumber, 
who, returning at this moment, thoroughly enters into the spirit of 
the fray. 



262 HOME FUN 

He also goes into the house, but comes out immediately, having 
suddenly remembered that it is time to go to dinner. 

Mrs. Hoggins appears upon the scene once more, and encounters 

Flapper, who asks: " Well, Ma'am, and what have you done about 

it?" "Done? If you woidd do something, instead of standing 

m there talking like a monkey, perhaps we should know where we are." 

In an interval of the conversation a loud sound of kissing is 
heard, and Mrs. Hoggins demands what it is. " Water oozing 
through my ceiling," says Plapper. Mrs. Hoggins laughs satirically 
and retires. She apparently finds Robert making love to Bridget, 
for he suddenly appears running out of the house very hurriedly, 
followed by the fiery remarks of Mrs. Hoggins. He is making a 
few rejoinders when Jim, the plumber, returns just in time to say 
that his wife is expecting him home to afternoon tea. A general 
chorus of excited abuse is then heard, in which Mr. Plapper joins 
from the background. So Jim walks away, saying that he will cut 
all the water off, leaving them nothing to drink, let alone wash in, 
until next day. 

This may seem very poor fun, but when staged and supplemented 
with good strong patter it should be most amusing. Opportunities 
always arise for introducing smart remarks and witty rejoinders, which 
cannot fail to " bring the house down." 

Complete sets of figures, with the various plays for which they are 
intended, can be purchased from all good shops making a specialty of 
entertainment requisites, but it is more interesting to make everything 
for oneself; and the prospective shadow showman may feel assured 
that, with care and patience, he will be able to give a performance that, 
costing but a dollar or two, will prove quite as entertaining as one pur- 
chased at many times the sum. 



CHAPTER XXXIII 

LIGHTNING CARTOONS AND " FAKE " SKETCHING 

A Novel Form of Dra wing-Room Entertainment 

An exhibition of skill which cannot fail to win appreciation from any 
audience, particularly one composed largely of grown-ups, is that of 
making lightning cartoons and sketches. It is, however, a form of 
Entertainment which should be undertaken only by those possessing 
some artistic qualifications. Although lightning cartoons do not call 
for any great genius, yet those with an 
inherent taste for caricaturing will find 
themselves the best exponents of the 
work. 

On the other hand, the task may 
be undertaken by any youth with even 
a moderate knowledge of drawing, be- 
cause by the observation of the few 
rules hereafter indicated, quite passable 
and pleasing results may be obtained. 
The apparatus required is simple and 
easy to procure. The first essential is 
a cheap easel, which can be purchased 
for fifty cents from any art store. To 
give it a presentable appearance for a 
drawing-room entertainment, it should 
be stained with any oak or mahogany 
composition. Those who possess a bent 
for carpentering will perhaps prefer to 
make their own easel. It can be made from 2 inch battening. First 
cut two pieces to the required height, and glue or mortise together with 
two stays, A and B (Fig. 1). Drill holes for the reception of pegs at 
CC. A further length, D, will also be needed for the back stay, hinged 
at E. F shows a section of the hingfino:. 

The next requisite is a large drawing-board. Half-a-dozen large 

263 




Fig. 1. — Easel for lightning cartoons. 



264 HOME FUN 

sheets of cheap cartridge paper should also be procured. These latter 
may be fixed to the drawing-board by nails driven firmly into the top 
right- and left-hand corners in such a manner that each sheet can 
easily be removed after it has been drawn upon. The media employed 
for plain black-and-white drawings are thick sticks of charcoal or soft 
crayon. 

It should be borne in mind that as lightning sketching permits of 
no erasures, each subject must be thoroughly committed to memory 
before a public demonstration on the paper is attempted. 

The best subjects for a beginner to attempt in black chalk or 
crayon are caricatures of celebrities, those selected all possessing some 
particularly marked or prominent feature, e.g. the late Mr. Gladstone, 
with his remarkable forehead, striking nose, and the characteristic high 
collar. 

Idiosyncrasies of well-known people should also be seized upon; 
for instance, the eyeglass and orchid so universally associated with 
Mr. Joseph Chamberlain. It will be found that if these peculiarities 
are properly portrayed and accentuated, but very few strokes of the 
crayon will suffice to produce an unmistakable likeness. The budding 
cartoonist should also bear in mind that boldness of execution is 
essential, the strokes being put to paper with free and large sweeps of 
the hand. 

The subjects intended to be drawn must be selected beforehand, 
the order of their appearance also being prearranged. 

To obtain the correct mental picture of each character or subject, 
it is at first recommended to attempt only heads. Let the young car- 
toonist first procure a pronouncedly good photograph, in profile pref- 
erably, and copy this in detail, gradually omitting half tones or shadings 
until the likeness is apparent when only the minimum of strokes is 
used. As soon as the ability to do this has been thoroughly acquired, 
the outlines should be drawn again and again until the hand has become 
so accustomed to the correct presentation of the portrait that it can 
draw it off in a second or two. The lightning cartoonist must live up 
to his reputation for speed. 

Now, to treat with the order in which the various features and 
leading characteristics are to be drawn in. A start is generally made 
with the curve above the nose, taking the stroke down and round 
to the nostril (A, in Fig. 2) ; then the upper lip, mouth, and chin (B), 
if possible, without breaking the line. Next take the chalk and draw 
the crown of head and curve of forehead, beginning at the right-hand 
top of head, presuming the face to be in profile to the left. With a 
sweeping stroke draw in either the outline of the hair or bald head, 
coming back to the forehead and finishing at the point from which the 



LIGHTNING CARTOONS 265 

start was made (C, Fig. 2). Now, leaving the outline of the face, 





Fig. 2. — Method of drawing in Fig. 3. — Complete cartoon, 

leading characteristics. 

return to the point at which the curve for the hair or head was 





Fig. 4. — Showing characteristic features Fig. 5. — The final stage, 

drawn in first. 

started, and bring round another bold sweep down into the nape of 



266 HOME FUN 

the neck (A, Fig. 3). Shading may be put in according to judgment. 
The eye must next receive attention, afterwards the ear, and, lastly, 
the collar or any other distinguishing mark. 



Simultaneous Drawing 

A welcome variation to the above is produced by a brief exhibition 
of simultaneous drawing with both hands. The best method of pro- 




Fig. 6. — Simultaneous drawing with both hands. 

cedure is to take a piece of chalk in each hand, and, bringing them 
together in the middle of the top of the drawing (A, in Fig. 6), take 
each hand round and down, the right hand drawing the profile, the 
left the back of the head, and so complete the picture by working off 
the lines respectively on the right side with collar and tie, and on the 
left with the neck and back of coat. In Fig 6 the dots show the other 
lines necessary to complete the effect. 



A Figured Face 

Another diversion may be caused by drawing at lightning speed 
a figured face. How this is to be accomplished is not at first 
apparent when you sketch in to all intents and purposes at random 
a few detached numerals, such as appear in Fig. 7; but the addition 
of extra figures produces the very expressive countenance depicted in 
Fig. 8. 



LIGHTNING CARTOONS 267 

A deal of fun may also be extracted from outline representations 
of an egg. Commence by sketching in with quick strokes three or 
four of these. Fill in the individual expression of each by such series 
of lines as are suggested in Figs. 9 and 10, and as a climax 






' 3 
kp 1 



1 




Fig. 7. — Figured face partly finished. 



Fig. 8. — Figured face complete. 



pin to each a suitable paper costume or fancy collar, frill, or tie, as 
shown in Figs. 11 and 12. These latter aids to 1 the equipment of the 
lightning cartoonist must be prepared beforehand from colored tissue 





Fig. 9. — A cheerful " eggspression. 



Fig. 10. — A mournful " eggspression.' 



paper, kept behind the easel, and instantaneously fixed on to the large 
sheet of cartridge paper by means of pins. The effect will be both novel 
and grotesque. 



2 68 



HOME FUN 





Fig. ii. — Egg drawing complete. 



Fig. 12. — Egg drawing complete. 



Smoke Pictures 



To produce wonderfully picturesque and striking examples of land 
and seascapes in the space of a few moments of time appears at first 
sight a task almost beyond the capabilities of the amateur draughts- 
man. Yet such effective additions may be made to the programme of 
the lightning cartoonist by his following out the subjoined simple in- 
structions. 

First procure a large sheet of iron or tin, enameled white. To 
purchase this in a prepared state is rather expensive, but a very fair 
substitute can be made by coating the tin or iron with ordinary white 
enamel. 

Smoke the enamel surface to a uniform blackness by passing 
it backwards and forwards over an ordinary small hand-lamp, the glass 
chimney of which has been removed. Fix the black sheet to the easel, 
either resting it on a wooden rack or across the pegs. 



LIGHTNING CARTOONS 



269 




Fig. 13.— Sketch to memorize for smoke picture. 




Fig. 14. — Completed smoke picture. 



270 HOME FUN 

Before commencing on the actual drawing, memorize a suitable 
subject, such as a stretch of water gleaming under the moon, with 
light reflections, as in Fig. 13. The effect of the finished picture 

may now be obtained 
by wiping out the 
black so that the 
white enamel shows 
through and forms 
the lights. The re- 
moval of the black 
may be accomplished 
either with the fingers 
or by means of a soft 
piece of rag. In view 
of the fact that the 
fingers form a better 
medium for drawing 
J than does the rag the 
use of the former is 
recommended, but as 
the cartoonist may- 
have arranged to follow this part of his entertainment with other 
drawings on white paper, he would do well, while dealing with the 
smoked surface to cover 
his finger-tips with stalls 
cut from old kid gloves. 
These can be discarded 
without the necessity for 
a break in the perform- 
ance, as would be the case 
were the fingers black- 
ened in the process. Fig. 
14 shows the finished 
smoke picture produced 
from the sketch in Fig. 13. 

TOPSY-TURVEYDOM 




A. Blue. B. Brown. C. Green. D. Drak green. 
Fig. 15. — A reversible scene. 




Fig. 16. — Initial sketch for " house on the cliff " 
Yet another variation drawing. 

in lightning cartooning is 

provided by the ability of the artist to produce pictures which, when 

turned upside down, show exactly the same view. These are best 

done in colored chalk or pastel, which is a softer medium and more 



LIGHTNING CARTOONS 271 

workable. Landscapes are peculiarly adaptable to this purpose. Fig. 15 
suggests a realistic example. 

Yet a further pleasing addition to the entertainment may be made 
by sketching such a scene as Fig. 16 suggests, afterwards over- 
coloring with white the part repre- 
senting the sea, and also the jutting 
rock marked A up to the dotted line; 
then turning the whole picture on end, 
blacking in on the whitened portion 
windows and doors, as shown in Fig. 
17. The result will be " The House 
on the Cliff." 

Shadow Drawings 



A very interesting entertainment is 
to be brought to a close by a short 
exhibition of shadow drawing. The 
apparatus required is a magic lantern, 
before the lens of which is fixed a pre- 
pared plate consisting of glass pre- 
viously covered with a coating of lamp- 
black and water. A sheet of calico should be attached, some distance 
away, to the wall. Between the plate and the lantern, and a little to one 
side, stands the operator, who with the aid of a stick or stump sketches 
the subject upon the plate, the light filtering through throwing an 
enlarged presentment of the picture upon the calico screen. 




Fig. 17. 



-House on cliff drawing 
completed. 



CHAPTER XXXIV 

FRICTIONAL FUN 

Some Amusing Electrical Experiments 1 

Electricity may be said to have a finger in most pies. From its mani- 
festations it would appear to be an all-pervading force, and modern 
research tends always to substantiate this conclusion. Thus two coins — ■ 
a cent and a quarter — cannot be brought into contact without produc- 
ing their quotum of electrical force, and in like manner the principles 
of its working may often be demonstrated by the simplest apparatus. 

There are two states which this subtle force assumes, called Static 
and Dynamic. The former word indicates a condition of rest, and is 
applied to electricity when stored in suitable magazines ready for dis- 
charge at a favorable opportunity, just as water may be held in lofty 
reservoirs, ready to pour down and perform work— whether useful or 
otherwise — if the pipes be opened. Dynamic, on the other hand, in- 
dicates a state of motion; so that Dynamic Electricity means that it 
is flowing along conductors from one place, where there is a large 
quantity of the force, to another less powerful, in the same way as — 
again using the comparison with water — the latter pours along con- 
necting pipes from a high level to a lower. Phenomena of static elec- 
tricity are invariably produced by friction, and some experiments of 
this class will be first described. 

The chief element of success in friction electrical experiments is 
a warm and dry atmosphere. The operations should therefore be con- 
ducted in a well-ventilated room where the fire has been burning some 
time, whilst all apparatus may with advantage have stood warming for 
some time before. 

i. Rub a 6-inch square of brown paper with a warm silk handker- 
chief, then place flat against the wall or marble fireplace. It should 
cleave tightly to either of the latter surfaces. 

2. Again electrify the brown paper and hold it above any willing 
person's head of hair. The locks will fly up towards the paper and 
appear like bristles. You may then make sure of a safe retreat, and 
utter side remarks about " wire." 

1 For the experiments in this and the following chapter I am indebted to the assist- 
ance rendered by Mr. Stanley S. Barnard. — C. H. B. 

272 



FRICTIONAL FUN 273 

3. Sprint smartly after the cat, which, like the other apparatus, 
should have been warming itself on the hearthrug, and having effected 
a capture, stroke the fur backwards. If the hand be not moist, con- 
siderable sparking should occur and be easily visible in a darkened 
room. 

4. By combing dry hair quickly with a warm ebonite comb, and 
then applying this to the knuckles, distinct sparks may often be 
obtained. 

5. Cut a piece of paper into small confetti, and place near it a 
stick of sealing-wax or ebonite rod, which has been rubbed with flannel. 
The paper atoms are attracted to the rod through a distance of one 
inch or more, and then, contact having once occurred, they immediately 
drop off. 

6. In the previous experiment it was found that the paper atoms 
having once touched the rod, dropped off directly. This behavior was 
caused by a sequence of happenings. 

First the negatively excited sealing-wax caused positive charges to 
possess the upper surface of the paper — the equal negative charges 
being driven downwards — so that, the two kinds of electric energy 
having a mutual affinity, the paper sprang towards the wax. Imme- 
diately they touched, however, the positive charges of the paper were 
neutralized by the large excess of negative energy from the sealing- 
wax, and then, since electricities of like sign exercise mutual repulsion, 
the negative paper was driven from the negative wax. 

Now this repulsion of similarly charged particles is demonstrable 
by a straightforward experiment, whose simplicity of description is 
in nowise proportionate to its entertainment. In truth, it consists merely 
of blowing a soap-bubble and catching it upon an excited stick of glass 
or wax. The bubble becomes electrified, its myriads of particles repel 
one another, and the beautiful globe expands in size, possibly to break- 
ing point. 

7. Scratch any design or word upon a small sheet of indiarubber — 
such as is used in the manufacture of mats — and then dust over the 
surface a thoroughly-shaken mixture of red-lead and sulphur. When 
all excess of the powder has been blown away, the design should 
appear in grains of red-lead, showing to excellent effect on the gray 
rubber ground. 

8. By the following method a spark of sufficient intensity to light 
house gas may be obtained from brown paper. Support a salver on 
four well-dried inverted tumblers, placing a rubber ring between the 
tray and each glass, and twist a copper wire round a spoon which 
rests on the tray. The other end of this wire must be held — insulated 
from the fingers by a piece of indiarubber or by the ordinary covering 



274 HOME FUN 

of the wire — just over the gas-jet, whilst about ^g-inch away is held 
another piece in metallic connection with the hand; that is, in reality, 
via the operator's body with the earth. 

Now, if the gas be turned on slightly and a piece of warm brown 
paper, electrified by stroking vigorously with a dry brush, be placed 
on the salver, a spark should pass across the J^-inch gap and ignite 

the escaping gas. 
If the spark does 
not pass at once, 
approach the wire 
extremities slight- 
ly closer together. 
9. The follow- 
ing experiment 
owes its origin to 
Gray — an early 
worker in the field 
of static elec- 
tricity : 

Erect two dry 
tumblers with a 
piece of waxed 
cardboard be- 

tween, after the 
fashion shown in 
Fig. 1, and lay a 
lath on the top 
glass. Beneath 
one end of the 
lath spread small pieces of paper, over an ebonite or wood surface 
supported on another inverted glass. Then if a stick of sealing-wax, 
which has been vigorously rubbed with flannel, be approached to the 
other end of the lath, the particles of paper will fly backwards and for- 
wards between the lath and the ebonite surface — on which they would 
normally rest. 

10. A simple trick, but one nevertheless causing considerable 
amusement to spectators, may be arranged in the following manner : 
Bore a hole carefully at the middle of a wooden meat skewer 
(A, Fig. 2), of such size as to take a bone knitting-needle tightly 
(B, Fig. 2). 

Sharpen the blunt end of the skewer and mount it so as to turn 
easily between bearings erected on inverted wine-glasses. These 
may consist of two wood blocks (C, Fig. 2), in each of which a 




Fig. 1. — Raising paper by touching wooden lath with electrified 
sealing-wax. 



FRICTIONAL FUN 275 

shallow conical hole is made to receive the points of the skewer. On 
these stand weights (E, Fig. 2) to keep wood-bearings firm. When 
this is in position and swings easily, adjust the needle until it balances 
exactly. It should be at right angles to the skewer, and may be fixed 
in position, if necessary, with glue or sealing-wax. 

Now cut two discs of white paper (D, Fig. 2) of a diameter about 
1 inch less than the knitting-needle's length, and, having printed across 
one the word " DONE " in 
large type, glue them — 
centers at the point where 
the needle and skewer in- 
tersect — on either side of 
this cross. Erect the ap- 
paratus as shown, so that 
the needle stands vertical, 
with the blank paper disc 
facing the audience, and 
then invite the latter to see 
if they can effect a move- 
ment without either touch- 
ing or blowing the disc 
or creating any disturbance 

whatever. The conditions should preclude any person, except the 
canny operator, from attaining success. He, however, innocently 
takes a postcard (previously warmed and dried), tears it sharply in 
half, and presents one ragged edge to the projecting bone needle. 
The cardboard became electrified by tearing, and should exercise quite 
enough attraction on the needle to upset its nice balance, whereupon 
the other disc becomes visible, together with its notice " DONE." 
The audience may take the ambiguous meaning according to their 
pleasure. 

Few further experiments can be performed without the use of 
special apparatus. So far, we have dealt only with the most minute 
quantities of electricity, and if more striking effects are to be produced, 
our stores of energy must be increased. 

Fortunately instruments of a fairly wide application may be rudely 
constructed at home, although, naturally, results must not be looked 
for comparable to those obtained with perfected apparatus. However, 
brief directions now follow for the manufacture of such simple instru- 
ments, and so, as commencement, let us appropriate two 3-lb. jam pots 
from which Leyden jars are to be evolved. 




Fig. 2. — The balanced disc. 



276 



HOME FUN 



Leyden Jars 

Procure as much metal foil as possible, either by raiding the 
nursery or by purchasing some tinfoil-wrapped 
butter scotch at the confectioner's, and gum it round 
the jam jars so as to extend about half-way up the 
outside (A, Fig. 3). 

Next solder stiff brass wires (8 inches long) 
to two round pieces of metal, so cut as to pass 
the jar mouths readily. To the other end of one 
brass rod solder another disc of metal, tin — or, 
better, brass — nicely smoothed along its two edges 
by sandpaper. The other brass rod may be looped 
at its end and have tinfoil wrapped round until a 
~~A respectable knob be formed, or else have a brass 
bedstead globe soldered on. 

These brass standards are then stood inside, 

Leyden jar. with their metal bases resting on the bottom of the 

jars and surrounded by lead shot to the same 

height as that of the tinfoil, without. The finished article should 

appear something like the sketch shown as Fig. 3. 




Gold Leaf Electroscope 

Obtain a square glass pickle or preserve jar, to the mouth of which 
has been fitted a large cork bung (A, Fig. 4). Next 
take a 7-inch length of ^g-inch brass wire (B, Fig. 

4) (similar to that used for the Leyden jars above), 
and flatten one end by hammering (F, Fig. 5), after 
having bent it triangular-shape, as in (C, Fig. 4). 

A 2}/2-inch length of cycle valve-tubing (A, Fig. 

5) is to be slipped over the brass rod B (Fig. 5), and 
then strips of gummed brown paper, 2 inches wide, 
lapped round and round the rubber-tubing until a 
paper cylinder some }^-inch across the outside is 
formed (C, Fig. 5). Anyway, this paper cylinder 
must be a good fit for a hole bored through the 
center of cork (D, Fig. 5), into which, moreover, it 
must be glued when dry. The stopper, paper, &c, 
must then be allowed to soak in hot candle wax for 
an hour or so, wiped clean and put aside to cool. 
Excess of grease must be particularly removed — 
with paraffin if necessary — from the plain end of the metal rod, to 




Fig. 4. — The electro- 
scope. 






D 



/A 



D 



tvi 



FRICTIONAL FUN 277 

which we must next solder a brass knob (D, Fig. 4) or, as an alterna- 
tive, tinfoil may be twisted round a loop in the wire until a ball is 
formed, as in the case of the Leyden jar. 

The next operation is to cut two strips of Dutch metal — or, better, 
gold leaf — size J^-inch by 2 inches, and gum them on either side of 
the flattened brass rod triangle (E, Figs. 4 and 5). This is best 
managed by laying the brass, after being lightly gummed, upon the 
Dutch metal strips in the correct position, 
and when fixed trimming off the corners of 
the leaves close to the sides of the triangle 
— not, of course, at the base, or no strips 
will remain to hang down. Dutch metal 
and beaten gold are both employed in gild- 
ing, and should be obtainable in small quan- 
tities at any picture-framer's shop. 

If the cork be now fixed in the mouth 
of the jar and the brass rod adjusted so 
that the gold leaves hang free of the in- 
terior, our electroscope is practically com- 
plete. However, a few pieces of calcium 
chloride, or pumice stone soaked in strong 
sulphuric acid, may be included at the bot- 
tom of the jar (F, Fig. 4), in order to 
absorb moisture; and lastly, as a brass ball 
is not always the most satisfactory terminal 
for this instrument, one other small acces- 
sory may be made. This consists of a 2- 
inch circle of tin, or, preferably, brass (G, 

Fig. 4), exactly like that fitted to one of the Leyden jars, and to the 
under side of which is soldered a ring of springy brass (H, Fig. 4) 
about %-inch deep, so made as to fit securely on the brass ball terminal. 
Thus the metal table is adaptable to the brass knob, whenever such an 
arrangement is required. 




-T 



i 



Fig. 5. — Electroscope parts. 



Electrophorus 

Our Leyden jars have been constructed to store electrical energy, 
and the gold leaf electroscope to indicate its presence. But we do not 
yet possess the means of producing this energy in any considerable 
quantity. 

To make an instrument for this purpose proceed as follows : Clean 
the inner surface of a circular tin lid — diameter 6 inches or 7 inches, 
and about ^-inch deep — (A, Fig. 6), and in the center stand upright 
on its head a brass screw, whose point has been filed down until it 



278 HOME FUN 

nearly reaches to the level of the upper edge of the lid (B, Fig. 6). 

Then carefully pour in melted lead or zinc to a depth of J^-inch. This 

process is not absolutely necessary, but is advisable if the metal be 

available and the extra trouble is not distasteful. 
When this metal has thoroughly cooled, melt 
up sufficient rough resin to' just overflow the tin, 
pour it in and allow to solidify properly without 
the least disturbance (D, Fig. 6). 

For the upper part of the electrophorus, take 
a disc of tin or brass, absolutely flat, and of 
the same diameter as the resin surface (E, Fig. 
6). In the center of its upper side solder a 
short piece of brass tube (F, Fig. 6), the correct 
internal width to fit tightly on a 1 2-inch length 
of polished wood rod, cut, say, from a walking- 
stick (G, Fig. 6). 

The drawing shows the general arrangement 
of this electrophorus, wherewith, by the help 
of a piece of fur, electricity may be generated. 
A small cavity must be made in the resin, just 

above the screw (H, Fig. 6), so that the point of the latter may be 

clearly seen. 

Discharger 




Fig. 6. — The electrophorus 



One last piece of apparatus — the simplest in construction — remains 
to be made. Bend a piece of stout brass wire into a semicircle (A, 
Fig. 7) ; then, having flattened it at the 
middle, pass through a hole at the end of 
a wooden handle (B, Fig. 7), and fix in 
position by means of a tiny glued wedge 
(C, Fig. 7). Next twist the rod at both 
ends into loops, and wrap tinfoil round so 
as to form metal knobs (D, Fig. 7). Brass 
balls may be used instead. This arrange- 
ment is now complete, and we may com- 
mence experimenting. 

11. Twist a stout piece of copper wire 
surmounted by a brass or tinfoil ball round 
the outside coating of a Leyden jar (A, Fig. 8), so that the two knobs 
are about 3 inches apart. Suspend a pith ball (B, Fig. 8), made from 
dried wood pith, by silk thread (C, Fig. 8) from some support above, 
so that it hangs normally midway between the two knobs. 

Next excite the resin surface of the electrophorus by rubbing with 




Fig. 7. — The discharger. 



FRICTIONAL FUN 



279 



-c 




-A 



Fig. 8. — Oscillating pith ball. 



a dry rabbit's fur, muff, or flannel; and, holding the cover of this 
instrument by the handle's extreme end, place it upon the resin. Re- 
move immediately and bring near to the knob, which connects with 
the interior of the Ley den con- 
denser, at the same time touch- 
ing its outer tinfoil surface with 
the finger. A spark should pass 
between the electrophorus cover 
and the Ley den jar, whereupon, 
if the former and finger be re- 
moved, and the pith ball allowed 
to drop into position, this will 
oscillate violently to and fro be- 
tween the knobs. 

12. Construct a Leyden jar 
with knob terminal similar to 
that previously described, but 
cover part way up the outside 
with gold paint (A, Fig. 9), in- *— 
stead of tinfoil. Charge this 
condenser by means of the 

electrophorus cover, as described in experiment 11, and if sufficient 
induction does not take place with one contact, replace the metal 
disc on the resin and pass a spark to the Leyden condenser knob 

several times, taking care to touch 
the gold paint coating with the 
finger on each occasion. If now 
the semicircular discharger, held 
by the wood handle, be brought 
so that one knob touches that of 
the Leyden condenser whilst the 
other moves over the gold-paint 
surface, long series of sparks, dif- 
fering greatly in appearance from 
any previously produced, will pass 
between the gilt and the dis- 
charger. 

13. Excite a stick of sealing- 
wax by rubbing with flannel, and 
bring it against a pith ball sus- 
pended by silk. The sealing-wax was negatively charged, and the 
pith ball is now in a like condition. To prove this, approach the 
flannel which excited the wax, and had consequently acquired a positive 




Fig. 9. — Sparks from discharger and 
Leyden jar. 



280 HOME FUN 

charge; inasmuch as the pith ball is immediately attracted and we know 
that positively excited bodies have an affinity for those negatively affected, 
the pith ball must be of the latter character. 

If, further, a glass rod be excited by rubbing with silk and brought 
near to the negative pith ball, the latter will again be attracted, showing 
the glass to be positively charged. 

On the other hand, the silk rubber repels a pith ball which has 
been in contact with excited sealing-wax, in the same way as it will 

repel the latter substance 
itself if suspended freely, 
thus indicating that the 
silk is similarly, i.e. nega- 
tively charged. 

The phenomenon of 
positive and negative elec- 
tricity may be somewhat 
differently demonstrated 
by means of the electro- 
scope. Touch the termi- 
nal of this instrument 
with rubbed sealing-wax. 
The gold leaves diverge. 
Moreover, they may be 
thrown farther asunder 
by bringing the electrophorus resin near, so that evidently the charge of 
this instrument is also negative. Perhaps as a diversion it may be 
noted that resin is one of the chief ingredients of sealing-wax. The 
electroscope leaves remain apart even when the electrified body has 
been removed, but they may be made to collapse by touching the knob 
with the finger or bringing an excited glass rod near. The former 
action " earths " {i.e. connects, via the person's body, with the house 
walls and the earth) the gold leaves and allows the electrical charge 
to escape, whilst the latter operation counteracts the negative charge 
by virtue of the positively excited glass. 

14. If the electrophorus and electroscope be placed as shown in 
Fig. 10, the gold leaves being already held asunder by a negative 
charge from sealing-wax, and the cover of the first instrument be lifted, 
whilst a strip of cardboard bridges from its upper surface to the disc 
terminal of the electroscope (A, Fig. 10), the instrument's leaves will 
fall together again. From this behavior it may be gathered that the 
charge on the upper surface of the electrophorus cover is positive, 
or opposite in character to that induced by rubbing on the resin 
cake. 




Fig. 10.- 



-An experiment with the electrophorus 
and electroscope. 



FRICTIONAL FUN 



.8 



251 

15. Stand a charged Leyden jar and the electroscope close together 
on the table. They must not be so near, however, that the gold leaves 
are affected by the condenser's presence. 

If, now, a few pieces of sulphur, spread upon the Leyden jar's 
disc terminal, be ignited so as to burn freely, the gold leaves will 
immediately diverge slightly, indicating that part of the electric charge, 
which is being rapidly dissipated by way of the flame into the atmos- 
phere, has traced a path to the electroscope. 

16. An amusing variation of experiment 11, wherein a pith ball 
was rendered restless between the two terminals of a Leyden con- 
denser, is constituted by 

carefully modeling a little 
seated figure out of pith 
and sealing-wax. The 
mannikin is threaded on 
a silk strand, so that the 
legs hang down as though 
seated on a swing, and is 
then suspended by tying 
the two silk ends to a sup- 
port above. Fig. 11 indi- 
cates the arrangements. 

Two Leyden jars are 
next required, of opposite 
influences. To effect this, 
charge one by the ordi- 
nary method of touching 
its terminal several times 

with an electrophorus cover, being careful on each occasion to " earth " 
the outer surface, whilst the other condenser is charged by presenting 
its outer surface to the electrophorus cover, and each time touching 
the knob terminal with the finger, i.e. " earthing " it. 

By this method, whilst the charge at the knob of one Leyden jar 
is positive, that at the terminal of the other is negative. Place these 
two instruments at equal distances on either side of the " swing " 
support, and at such an elevation that the pith figure may just touch 
the brass knobs. 

Then, if the swing be started going, it should continue to oscillate 
for a considerable time. As the pith figure approaches, say, the posi- 
tive knob, it acquires a negative charge and is thereby attracted. 
Directly it touches, however, this negative state is counteracted, a 
positive charge supersedes it, and repulsion between pith figure and 
positive knob ensues. The pith doll then swings over towards the 




Fig. 11. — The swinging mannikin. 



282 HOME FUN 

negative knob and — being positively influenced — is of course attracted 
until contact takes place. Then negative supersedes positive in the 
pith figure, repulsion again results, and a similar cycle of changes is 
repeated. Thus the figure continues to oscillate until the charges of 
the jars have been exhausted or have leaked away. 

17. In the same manner as the alternate attraction and repulsion 
of a light body has been used to maintain oscillation, so similarly an 
electrostatic motor may be constructed embodying the same principles. 
Cut out a 16-pointed star of cardboard, 8-inch diameter, and, having 
glued a 34 _mcn snce of cor k m the middle of each side (A, Fig. 12), 
pass a knitting-needle through the star's center at right angles (B, Fig. 

12). Both ends of this spindle 
l^llllllll l lllll l l i ili l f i l^ ii iiH i ^ l rest in conical cavities (C, Fig. 

12), which may be punched 
or drilled in small brass discs 
to act as bearings, and the ap- 
paratus is mounted as shown. 

It is important that the 
cardboard should be perfectly 
dry, and with this end in view 
it may well have previously 
received a saturation in paraffin 
wax. When set hard, stick a 
brass pin bent at right angles 
into each point of the star, and 
set Leyden jars of different 
charges beneath any two dia- 
metrically opposite points. 
The motor, being given a start, should continue to revolve for some 
time owing to the succeeding attraction and repulsion of the metal 
pins. 

The following description is of a small machine which may be 
fairly easily constructed, and when in good working order will give far 
better results than the electrophorus. Fig. 13 shows the reference 
letters and general arrangement. Two cork bungs (A, Fig. 13), pre- 
viously saturated with paraffin wax or shellac varnish, are fixed into 
the ends of a cylindrical lamp chimney, and through a hole in the exact 
center of each passes a wooden rod (B, Fig. 13), which must be glued 
in place. Each end is supported in a wooden bearing (C, Fig. 13), 
black lead being used as a lubricant, and to the protruding one a small 
handle (D, Fig. 13) is fitted, wherewith the glass may be revolved. 
Next a long pad of wash leather (E, Fig. 13), stuffed with horse-hair, 
is fixed so as to press gently against the cylinder, whilst a silk flap 




Fig. 12. — electrostatic motor. 



FRICTIONAL FUN 



283 




(F, Fig. 13) about 2 inches wide hangs over the top surface of the 
glass. A brass chain (G, Fig. 13) is also fixed to the wash-leather 
cushion and, in the ordinary way, connects to " earth " either direct or 
through the operator. The wash-leather cushion is well black-leaded 
where it touches the glass. 

On the opposite side of the cylinder a metal comb (H, Fig. 13) is 
supported, the teeth being 1- 16-inch away from the glass, whilst the 
back of the comb is soldered to a brass knob (I, Fig. 13) fixed on a 
wood pedestal. Any noticeable edges at the base of the brass globe 
should be filed off until 
only round surfaces are 
presented. 

Care should be taken 
to dry the machine 
thoroughly, and if then 
the handle be turned 
regularly, as indicated 
by the arrow, the brass 
knob should rapidly be- 
come charged to such 
an extent that sparks 
may be drawn with the 
knuckles, possibly with 
discomforting results ! 

If the brass ball possess any sharp edges or, alternatively, if a 
length of wire girdle it so that one end projects radially about one 
inch, then the electricity will leak from these extremities in the form 
of a glow discharge as fast as it is developed. This frequently creates 
such a disturbance in the surrounding air as to distinctly blow a candle 
flame when held at the discharging point. 

In 1752 Faraday invented an arrangement of attraction and repul- 
sion by which three bells were kept ringing. To the electrical machine 
conductor was attached a metal support from the ends of which hung 
two bell domes on brass chains, whilst from the center another was 
supported by a silk strand and connected by a brass chain to earth. 
Between the bells small brass clappers were hung by silk threads, as 
shown in Fig. 14. 

The action in working was for the machine to charge its conductor 
and hence the two outer bell domes, which then attracted their brass 
clappers until contact took place. This caused repulsion, so that the 
clappers swung over to the center dome, where discharge to earth 
ensued and a condition obtained when the cycle of events might be 
repeated. 



Fig. 13. — Frictional machine (more useful than the elec- 
trophones for producing electric charges). 



284 HOME FUN 

Having thus arrived, via the simplest phenomena, at a piece of 
mechanism which will work, our experiments in the field of static 
electricity must conclude; but rather, let it be noted, on account 

of a dearth of apparatus than from 
any scarcity of phenomena to be 
studied. If therefore the reader fore- 
sees an opportunity of pursuing the 
subject further, such for example as 
the use of a well-equipped labora- 
tory, let him not hesitate to snatch 
the advantage. To mention two facts 
demonstrable by further experiment : 
(i) Frictional electricity is produced 
in excessively small quantities at a 
very high pressure. For this reason 
sparks in air may be produced fric- 
tionally of such a length as cannot be 
obtained direct from batteries. (2) 
Friction itself is not a necessary element in the production of electrical 
energy, but is adopted in order to bring every portion of the rubbed 
surfaces into perfect contact. Thus far and no further. We must say 
" Au revoir," and splash down a full stop. 




Fig. 14. — Faraday's bell chimes. 



CHAPTER XXXV 

SOME ELECTRICAL EFFECTS 

The Magic of Mystery 

A phenomenon is always mysterious, so long as its origin remains 
hidden. That is to say that any event, the causes of whose manifes- 
tation are obscure, will be found to prompt some feeling of wonder- 
ment. 

For this reason then — just as an automobile in motion will bewilder 
a savage, because he has at no time seen any but living creatures mov- 
ing, and does not understand the new mechanism — so for us an elec- 
trical effect mostly presents something of a miraculous nature. To 
take a concrete example. Whereas the ringing of a church bell by the 
sexton engenders no feeling of wonderment in the average listener's 
breast, the buzzing of an electric bell, which ensues upon connecting 
with a battery, does have this influence to a greater or less extent, 
because the electricity's behavior is by no means so obvious as that of 
the sexton pulling the rope. 

Let this character of the miraculous then, which pertains with 
scarcely an exception to every electrical phenomenon, stand as an excuse 
for the experiments to be detailed hereafter. 

Electricity may be produced by a variety of methods. For com- 
mercial purposes, where unstinted supplies are necessary, mechanical 
energy is converted into the subtle force by means of dynamos. Ex- 
ceptional sources of mechanical energy are now frequently used, as 
witness the Niagara Falls, where electric current is produced on the 
site, and whence it is conducted by cables to places of utility; and also 
the case of Nansen's " Farthest North " Expedition (before Cook found 
the Pole!), which utilized a deck windmill for installation of electric 
light aboard. 

Electricity is also produced when any two substances are brought 
into contact, and more especially if they are placed near one another, 
but not touching, in certain liquids, thereby forming " cells." With 
these arrangements, electricity finds its source in chemical action; and, 
although not powerful, such cells are extensively employed, on account 
of reliability, in telephone and telegraph systems. No more convenient 

285 



;86 



HOME FUN 



source of galvanic energy has yet been devised than a battery of " cells " 
— i.e. a number of cells connected together — and the type which we 
intend to use, and of whose construction the following is a description, 
is among the cheapest possible to make and maintain. 

The battery is to consist of eight cells, connected together, in a 
manner hereafter described. For each cell procure a i lb. stone jar 
(A), and line it inside with a sheet of tin (B), which may be cut 
from a condensed milk can, and should be curved so as to press out- 






Fig. i. — Making a cell. 



Fig. 2. — Copper spiral sur- 
rounded by broken coke 
in rag or flannel bag. 



wards against the jar's inner surface (Fig. i). A 2-inch length of 
copper wire (C) is soldered to its upper edge. 

The next operation is to twist an 8-inch piece of copper wire for 
about 6 inches of its length round a pencil, thus forming a spiral (X), 
round which a flannel bag (A) filled with small coke (B) is tied (Fig. 
2). At least two thicknesses of flannel are advantageous, or if this be 
found rather expensive, flannel and rag combined, or odd pieces of rag 
alone may be utilized. 

The chief considerations are to construct a porous wall of appreciable 
thickness round the coke, and to avoid colored rags if possible. The 
bag is to stand upright in the middle of the jar, leaving about y 2 -'mch 
space all round to be packed with zinc scrap, which for convenience 
may well be ''granulated." To make this, melt up as much waste zinc 
as can be collected in a ladle and pour it in a thin stream into a large 
bowl of cold water, moving the ladle over the surface of the water 
meanwhile, in order to cool the zinc stream as suddenly as possible. 



SOME ELECTRICAL EFFECTS 287 

The zinc which forms in a heap at the bottom of the bowl should be 
breakable into very small pieces, and is termed "granulated " (Fig. 3). 




Fig. 3. — Granulating zinc. 



Fig, 4. — Section of the complete cell. 




Fig. 5. — Tray to carry battery of cells. 



When the cell has thus been assembled with curved tin sheet, bag 
of coke and broken zinc in place, it is nearly filled with strong salt 

r solution, and above this, 
j in order to prevent evap- 
oration, a thin layer of 
melted tallow may well 
be poured. Fig. 4 repre- 
sents a section of the 
complete cell, A being 
the flannel bag con- 
taining coke; B 2 , wire 
from coke; C, wire from 
tin; D, layer of tallow; 
E, level of solution; F, the jar; G, the tin; H, the zinc. 

The eight components of the battery being thus complete, nothing 
necessary remains but to con- 
nect them together. However, 
they will prove more portable 
and self contained if arranged 
in a shallow wood tray. This 
may be either a confectionery 
box — if one of suitable dimen- 
sions is obtainable — or can 
perhaps be constructed as in- FlG - 6.— The complete battery. 

dicated by the accompanying sketch, with handles at either end 
(Fig. 5), It should certainly be strong, as the set of jars is of con- 




288 HOME FUN 

siderable weight, and would, if accidentally dropped, create a pretty 
printers' pi. Lastly, when the cells have been arranged in two rows 

of four a side, the finishing 
touch is to join the copper 
wire ends by twisting, ac- 
cording to the plan shown 
in Fig. 6, and the battery is 
complete. The end wires 
A and B will be referred 
to hereafter as negative and 
positive terminals respec- 
tivelv. 




Fig. 



c 

-The compass test. 




Fig. 8. — Spark-producing. 



Experiment i. — Connect one extremity of a straight wire with the 
battery's positive terminal, and place it on the table so as to lie 
due north and south. 
Above it stand a com- 
pass, whose needle — 
also pointing due north 
and south — will be 
parallel to the wire 
(Fig. 7). Now, when 
the free end of the 
north-south conductor 
is connected to the 
battery's other terminal so that a current may flow, the needle swings 
round at right angles and thus now lies east and west. Needless to 

add, electricity prompts the 
needle's behavior, and un- 
less such movement does 
take place, the cells are at 
fault somewhere. 

Experiment 2. — Having 

decided by the compass's 

behavior that the battery is 

actually efficient, bring the 

terminal wires into contact 

in the dark, and notice the 

slight spark (Fig. 8). Next 

obtain a spare bobbin from 

an old electric bell (Fig. 9), 

and pass the current round the coils whilst making the spark. This 

should now be more distinct — thicker, and brighter, though not so 

frequent — owing to induction taking place between the wire coils. 




AA. Bell-bobbin coils. 

B. Iron base. 

C. Wire from battery terminal joined with one 

end of coil wire. 

D. Other end of coil wire. 

E. Wire from other battery terminal. 

Fig. 9. — Showing connections for passing current 
round bell-bobbin coils. 



SOME ELECTRICAL EFFECTS 



289 






Fig. 10. — The principle of the arc lamp. 



Experiment 3. — Repeat the previous experiment whilst using pieces 
of carbon, round which the free wire ends (D and E, Fig. 9) are 
twisted, to bring into contact with one another (Fig. 10). The spark 
obtained is very bright, and 
may possibly by careful han- 
dling be maintained for a mo- 
ment or two; if the current is 
more powerful, the spark does 
keep constant, even though 
the carbons be drawn apart 

considerably, and thus forms in principle such an arc lamp as floods 
the streets of towns with their dazzling rays. The pieces of carbon 
may frequently be picked up beneath arc light standards, after the 

electrician has gone 
on his rounds "trim- 
ming " the lamps. 

Experiment 4. — 
Again repeat the 
No. 2 experiment, 
but insert a rough 
file in the circuit and 
drag the free end of 
a wire from the bat- 
tery up and down its 
surface (Fig-. 11). 
Sparks in plenty, but 
apparently frail and resembling those thrown off by squib fireworks, 
are produced in this manner. 

Experiment 5. — If a few iron filings (A, Fig. 12) be scattered evenly 
on a sheet of paper (C, Fig. 12) and a horse- 
shoe magnet (B, Fig. 12) approached from 
beneath, the filings arrange themselves in a 
curious design, which really maps out the 
magnetic lines of force. Now, if this experi- 
ment is repeated whilst using the bell-bobbin 
in place of the permanent horse-shoe magnet, 
and a current passed round the coils, the same 
disposition of the filings ensues, showing that 
the bobbin's iron cores have been magnetized. 
In Fig. 13, A is the filings; B, the wire from 
negative terminal battery; C, the sheet of paper; and D, the wire from 
positive terminal. 

Experiment 6. — " Flax " wire, whose core consists of about forty 




Fig. 11. — More spark production. 




Fig. 12. — Magnetic lines 
of force. 



290 



HOME FUN 




fine copper filaments stranded together, may often be had in scrap 
lengths at electricians' shops, as it finds wide employment in lighting 
installations. The silk and rubber insulation should be ignited and 

allowed to burn, any 
residue being care- 
fully wiped off with 
rag, after which two 
lengths of, say, three 
strands apiece are 
separated from the 
wire core. These 
are very flexible, so 
that when attached 
to the battery ter- 

Fig. 13. — The filings arrange themselves in a curious design, mmals and magnet 

wires the bobbin, 
being extended as shown by a silk strand, is able to revolve freely in 
any direction. As a matter of fact, whilst the current is flowing the 
bobbin sets itself north and south like any other magnet — a very 
ordinary performance, the reader may remark! But, on the other 
hand, if the flexible wires be changed over so that the one previously 
connected to the battery's positive 
terminal is now connected to the 
negative and vice versa, with the re- 
sult that the current travels round 
the bobbin coils in an opposite direc- 
tion, the electro-magnet swings half 
a turn, and comes to rest with its 
pole that was towards the north 
now pointing south. So that the 
bobbin resembles a weathercock, 
except in so far as it changes with 
the current instead of the wind 
(Fig. 14). 

Experiment 7. — The number 
" 7 " has been regarded among races 
of men as peculiarly fortunate. 
Perhaps happily, therefore, it falls 

to this experiment, which, indeed, is rather the construction of 
new than the arrangement of old apparatus. The magnetic prop- 
erties of a bell-bobbin may be utilized in constructing a primitive 
electro-motor. Decapitate four i^-inch nails, and, having bent 
% -inch of both ends of each at right angles, mount them 




An electrical weathercock. 



SOME ELECTRICAL EFFECTS 291 

equal distances apart round the circumference of a thread reel 

(Fig- 15). 

Next plug the center hole of this reel with hard wood, and bore 




A. Nail ready to drive 
into reel. 

Fig. 15. — A primitive electro-motor. 



another hole through of smaller diameter 




Square of copper or tin. 
Brass standard. 

— Standard for electro-motor. 



straight piece of 3^$ -inch brass wire. 




Fig. 17. — An electro-motor. 



so as to slide stiffly on a 
About 1 inch from the cotton reel 
is to be soldered a y%- 
inch square of tin or 
copper sheet, having a 
hole at its center through 
which the brass spindle 
passes (Fig. 16). Two 
small brass standards, 
g^ for which straightened 
curtain-rod clips may 
well be employed, are 
screwed about 3^ inches apart to a wooden baseboard, and have a 
hole drilled near their top edges to accommodate the spindle (B, Figs. 
16 and 17). This 
being placed in posi- 
tion, should be pro- 
vided near the bear- 
ings with washers 
(E, Fig. 17) and 
beads (D, Fig. 17), 
the washers being 
soldered in order 
to prevent lateral 
movement of the 
shaft. Lastly, with 
a view to realistic 
appearance, solder a small tin fan (C, Fig. 17) to one projecting end 
of the spindle, and enamel or paint it gray. The arrangements of these 
fittings are made quite clear by the diagram. 




H. Wood strip across top of magnet. 
I. Block of wood supporting bobbin at correct height. 
J. Wood base board. 

Fig. 18. — Bell-bobbin mounted. 





Fig. 19. — The contact-breaker. 



292 HOME FUN 

By now the most difficult part of our task has been attempted, so 
that if the reel and spindle revolve " sweetly " in the bearings, no 

doubt need be entertained as to 
whether the motor will ever reach 
completion. 

The bell-bobbin must be mounted 
with its magnet faces as near the reel 
circumference as possible, and with 
their centers the same height above 
the baseboard as the spindle. A piece 
of wood beneath the bobbin, of such 
thickness as to keep it at the right 
height, and another strip across the 
top, through the ends of both of 
which screws are driven into the base- 
board, will secure the magnet firmly 
in position (Fig. 18). The next operation is to bend a springy strip 
of brass to the shape shown in F, Fig. 19, and fix it immovably 
by the screw G — round which one free end of the bobbin wire (L) 
has been twisted several turns — to the baseboard, so that its top 
portion misses the metal square or contact-breaker (P) on the spindle 
by about % i ncn - Now drive a second screw (R) carefully into the 
wood through another 
hole in the strip, un- 
til this latter presses 
lightly against each 
point of the contact- 
breaker successively as 
the spindle revolves. 

The little motor is 
now complete, except, 
perhaps, for the addi- 
tion of two terminal 
screws, one of which 
is joined with the re- 
maining free bobbin 
wire, and the other by 
a short length of wire 

to either of the bearings. The entire connections are shown in the 
accompanying sketch (Fig. 20). Now for working! Connect the bat- 
tery wires to the motor terminals, and adjust the spindle so that one 
corner of the contact-breaker is fairly touching the vertical brass 
strip. A current should now be flowing round the bobbins, which 




Fig. 20. — Showing wire connections (X, Y, Z) and motor. 



SOME ELECTRICAL EFFECTS 293 

consequently become magnetized and attract the nearest iron nail fast- 
ened to the thread reel. If the iron is not sufficiently near to be under 
the magnet's influence, turn the reel on the shaft until it is in the proper 
position. The motor, with a little adjustment, ought to run merrily, 
as the bell-bobbin — alternately magnetized and demagnetized — attracts 
and releases the short iron bars. 

Experiment 8. — Connect the battery terminals together by means 
of some thin iron wire such as is used for wiring flowers, and twist 
it into a spiral so that it may rest comfortably in a cup of cold water 





Fig. 21. — Warming water by- 
electricity. 



Fig. 22. — Decomposing water into 
its chemical constituents by 
means of an electric current. 



(A, Fig. 21). Stand also therein a thermometer (B, Fig. 21). The 
water's temperature will be observed to rise steadily, showing that the 
passage of the electric current heats the iron wire (C, Fig. 21), which 
in turn imparts some warmth to the surrounding liquid. 

Experiment 9. — The previous experiment showed that an electric 
current heats a material through which it passes. If the thin iron 
wire be shortened to a length of about J^-inch, our battery will probably 
bring it to red-heat, thus demonstrating the principle of electric incan- 
descent lamps, The difference between theory and practice, however, 
in this case consists in the use of carbon, or, very rarely, platinum, in 
place of the iron filament, and of inclosing this in a glass bulb free of 
air, so that combustion cannot proceed rapidly. 

Experiment 10. — Immerse two wires from the battery terminals at 
some little distance apart in a glass of water, which has been slightly 
soured with sulphuric acid or spirits of salt. The weak acid readily 
conducts the electric current, which decomposes the water into its 



294 HOME FUN 

chemical constituents, hydrogen and oxygen, the former gas coming 
off in bubbles at the wire which leads from the battery tins, and the 
oxygen round the other conductor (Fig. 22). The hydrogen bubbles 
may perhaps be ignited as they are evolved by holding a lighted match 
just near the water's surface; or another method is to seal the wires 
into separate glass tubes, so that both dip beneath the water, and light 
the hydrogen gas as it escapes from the tube's upper end (Fig. 23). 
In this case great care must be taken to allow time for the expulsion 





Fig. 23. — The hydrogen bubbles may 
be ignited by holding a match near 
the free end of the hydrogen tube. 



Fig. 24. — Electro-plating in its infancy, 



of all air from the tube, because hydrogen and air in certain proportions 
form a very explosive mixture. 

Experiment 11. — Repeat the foregoing experiment, using copper 
sulphate solution in place of the acidified water. After the current 
has passed for some time, one of the wires will be noticed to have 
become thicker whilst the diameter of the other has decreased. This 
behavior is owing to deposit of copper from the solution on the one 
conductor and abstraction of metal from the other, whose bulk dimin- 
ishes in automatically maintaining the solution's strength (Fig. 24). 
In this reaction is seen the basis of commercial electroplating — silver 
and nickel solutions being mostly employed instead of the copper bath, 
since these are the metals with which those of a baser nature are more 
frequently plated. 

Experiment 12. — Electrotyping is a modification of electro-plating, 
where a mold of wax coated with some conducting substance like graph- 
ite is used to deposit the metal upon. Melt some quantity of sealing- 




SOME ELECTRICAL EFFECTS 295 

wax on to a piece of cardboard, so that it spreads out slightly 

larger in diameter than a fifty-cent piece, and when just plastic press 

the " head " surface of the new coin into the wax, so that an exact 

replica is obtained. Fasten a copper wire by some extra wax to the 

cardboard disc (as in Fig. 25), and carefully cover the whole matrix 

with powdered blacklead, 

working it well into the 

crevices and up to the 

copper conductor, with a 

camel-hair brush. Hang 

this in a jar containing 

saturated copper sulphate 

solution — the copper wire 

being connected to the 

negative battery terminals jr IG- 2 $. — Preparation for experiment in electrotyping. 

(A, Fig. 26), whilst a 

sheet of copper or coil of wire is suspended in the solution some little 

distance from the sealing-wax mold, with a wire connecting to the other 

battery terminal (B, Fig. 26). 

So long as the current continues flowing a reddish deposit will 

form on the blacklead surface, and if 
the action be allowed to continue until 
a fair thickness of metal is secured, 
the wax may be carefully melted off, 
leaving an exact relief of a fifty-cent 
piece's reverse side in a copper. Any 
medal or seal may be used in place of 
the silver piece to obtain a first mold, 
but the coil has been mentioned as be- 
ing probably the most suitable article 
near at hand. 

With this example of electrotyping, 
our series of descriptions must termi- 
nate. But the embryo scientist, who 
has traveled thus far, need not cast his 

_ r _ „. , , apparatus to the winds and hence- 

ric 26. — Sealing-wax mold sus- P , r , 1,-1 tt 

pended in solution of saturated forward forsake electrical matters. He 
copper sulphate, near to sheet of m ay arrange various combinations of 
copper or coil of wire. . , ,. ., 1 <• 1 

wines and liquids — such, for example, 




as passing the current through water to his motor, 



and noting the 



decrease in speed, or insert various lengths of iron wire in the circuit. 
Possibly the batteries will betray exhaustion, and they may then be 
reinstated by discarding the old salt solution, rinsing and replenishing 



296 HOME PUN 

the granulated zinc, and washing the flannel bags in permanganate of 
potash solution. These batteries are, in fact, a real asset, as they can 
be used — three or four together — in setting up an electric-bell installa- 
tion, and are easily replenishable, when at length their life begins to 
ebb. 

An endless fund of amusement — less expensive and more instructive 
than many — awaits those who explore the realms of the pygmy lightning 
spark. 



CHAPTER XXXVI 

SAFE SCIENTIFIC EXPERIMENTS 

Amusing Tricks with Simple Apparatus 

To many boys and girls who have acquired at school some knowledge 
of Science, the mere mention of the words " Scientific Experiments " 
recalls memories of experiments far from amusing, for the science of 
the laboratory is more often than not accompanied by some of the 
innumerable little worries of school life. 

When, however, experiments are conducted at leisure in the home, 
the work assumes a totally different aspect, and much pleasure may be 
derived from it. 

Not only may such experiments become a source of great amuse- 
ment, but they are of considerable educational value, since it is from 
the study of the most elementary scientific laws that some of the greatest 
discoveries of modern science have been made. 

The aim of this chapter is, then, to place before you a series of 
interesting and instructive experiments which may be performed for 
the amusement of yourselves and friends on occasions when outdoor 
recreation is impossible. 

In selecting these experiments, endeavors have been made wherever 
possible to mention only home-made apparatus, or such requisites as 
are easily procurable at very slight cost. 

Of what, then, do these amusing experiments consist? 

Piercing a Coin with a Needle 

The first is one which, at a casual glance, seems impossible to 
perform. 

To pierce a copper coin with a needle, especially if the needle is thin, 
seems, indeed, a tremendous task. It is, however, very simple. 

The apparatus necessary consists of a cork, a needle, and a 
hammer. 

Stick the needle through the cork in such a manner that the point 
only just protrudes, and, with a pair of pincers, cut off the head of 
the needle remaining above the cork. 

297 



298 



HOME FUN 



Then, having placed the coin and cork as shown in the diagram, 
hit the cork vigorously with the hammer (Fig. 1). The needle being 

unable to; bend in 
any direction owing to 
the cork keeping it 
rigid, will pierce the 
coin quite easily, since 
we know that the steel 
of which the needle 
is composed is harder 
than the copper of the 
coin. 



A Match Trick 

Another very in- 
teresting experiment is 
that performed with 




Fig. 1. — Coin piercing extraordinary. 



an ordinary match, a bottle, and a coin. 

Bend in two an ordinary large match, thus partly breaking it, in 
such a manner that the two parts hold together by a few fibers of 
wood. 

Place it, thus broken, on the neck of a bottle, and 
then on the match place a dime or any other small 
coin. 

Having done this ask a friend if he can make the 
coin fall into the bottle without touching the coin, the 
bottle, or the match. You will find that he will search 
in vain for a solution to this seemingly 
impossible task, which however may 
be overcome in a very simple manner, 
as may now be seen. 

Dip your finger in a glass of water, 
and placing it above the angle formed 
by the match, allow one or two drops 
of the liquid to fall on this angle 
(Fig. 2). 

Immediately the fibers of wood, 
swollen by the moisture, try to 
straighten themselves, and you will 

the 





Fig. 



2. — A match 
trick. 



Fig. 3. — Coin leav- 
ing match and 
dropping into the 
bottle. 



see tne angle of the match increase 
little by little until the match no longer supports the coin, which then 
drops into the bottle (Fig. 3). 



SAFE SCIENTIFIC EXPERIMENTS 



299 



The Tricolor Glass 

Most of us, if not all, know that if wine is carefully poured on 
water, it floats on the surface, but not every one knows how to place 
the wine at the bottom of the glass with the water above it, and this 
without mixing the two liquids. For this experiment make use of the 
different densities of hot and cold water. 

Take an ordinary glass (moistened first with hot water to prevent 
its cracking) and pour some boiling water into it. 

Then by means of a funnel placed almost to the bottom of the 
glass, pour in some wine which has previously been cooled by ice. By 





Fig. 4. — The wine at the bottom 
of the glass. 



Fig. 5. — The tricolor glass. 



working carefully you will see the wine form in a red layer at the 
bottom of the glass (Fig. 4). 

Now gently remove the funnel, and pour on the surface a bluish 
liquid lighter than water (for instance, alcohol colored with ink) 

(Fig. 5)- 

You will now have a layer of blue on top, thus completing the 
tricolor glass, which will by the aid of a light project the three colors 
of the flag on the wall. The tricolor glass may also be used for illumina- 
tion purposes. 

To make it represent fireworks is even more entertaining. 

If you allow the water in the glass to cool by placing it in a vessel 
containing cold water, the wine will rise from the bottom of the 



300 HOME FUN 

glass in the form of thin threads, strongly resembling rockets 
(Fig. 6). 
The different liquids mix, and the descending columns of blue, mixed 



Fig. 6. — Water rockets. 

with the ascending columns of red, produce a curious spectacle like that 
of fireworks in a glass of water. 

Changing Water into Wine 

This is not a reproduction of the miracle performed at the wedding 
feast of Cana, but it is, nevertheless, a most interesting experiment. 

Fill two tumblers (A), or wine glasses, of equal diameter, with 
water, by completely immersing them in a basin of that liquid, standing 
one upright and the other upside down upon it. When they are both 
completely full, with not a bubble of air in either, join their rims and 
remove them from the basin. Now place them upright on a dish, 
and, if their rims fit accurately upon each other, the water will remain 
in them. It is now necessary to place on the top of the upper glass 
a third glass, (B), containing wine, or better still, spirits of wine in 
which is dissolved a little aniline dye. 

Now announce to your friends that without touching any of the 
glasses, you will, before the eyes of the audience, cause the wine to 
pass from the glass (B) into the upper (A) glass without a drop enter- 
ing the lower (A) glass. 

In order to perform this amazing experiment take a strip of wool 
or cotton, moisten it with the liquid contained in the top glass (B), 
and hang it over the edge of this glass with one end completely immersed 
in the liquid. 

This forms an excellent siphon, for it allows the liquid in the 



SAFE SCIENTIFIC EXPERIMENTS 301 

top glass (B) to flow away in drops which fall on and run down the 
glass underneath until they reach the junction of the rims. Here 
they are drawn in by capillary attraction, and, the wine being lighter 
than the water, they rise to the top of the upturned glass (A), displacing 
the water contained therein by causing it to flow out between the rims, 
after which it collects in the dish 
below. 

This action will go on until 
the top glass (B) is empty, when 
the whole of its contents will 
find their way into the upturned 
glass, whilst the lower one (A) 
remains perfectly clear (Fig. 7) 

The Eruption of Vesuvius 

Many of us, no doubt, have 
often tried to picture to our- 
selves a volcano in eruption, but 
most will confess that unless we 
have seen some very good pic- 
tures of an actual eruption, we 
are not at all certain that our 
self-made picture is correct. 

Now to detail an experiment 
which gives a vivid idea of a 
volcano in action. 

At the bottom of a large glass 
bowl put a flask containing red 
wine, or spirits of wine, in which 
has been dissolved a little aniline 
(B, Fig. 8). This flask should 
be closed by a cork pierced with 

a very narrow hole. By the aid of plaster, or, simpler still, of earth 
or clay, fashion a mountain around the flask, leaving at the top a hole 
through which the cork can just be seen. This will form the crater. 

Having made your volcano, fill the bowl with water (A, Fig. 8), 
and you will now witness the eruption. 

We know that, owing to the difference in the density of the two 
liquids, the water will penetrate into the flask, thus displacing the wine, 
which escapes in a thin red column. As this column nears the sur- 
face, it will spread out, thus resembling a cloud of fiery smoke as seen 
issuing from a volcano. 




Fig. 7. — Changing water into wine. 



302 HOME FUN 

Care must be taken to shake the water, in order that the streak of 
color may represent in as realistic a manner as possible the reddish 
smoke of a volcano disturbed by the wind. 








Fig. 8. — The eruption of Vesuvius. 



Fig. 9. — Vesuvius in eruption. 



In this way you will provide your friends with an almost exact 
reproduction of Vesuvius in action (Fig. 9). 



A Peculiar Candlestick 

Water supporting a lighted candle seems a very peculiar form of 
candlestick; and yet despite this it will be found 
quite as serviceable as any other. 

To make the candlestick is quite easy. All 
you have to do is first to weight the end of a 
piece of candle (previously used) with a nail or 
piece of metal, in such a manner that, when 
placed in a vessel of water, the liquid will be 
flush with the edge of the candle without wetting 
the wick. 

Next light the candle, and announce that, 
in spite of the unfavorable surroundings, your 
candle will burn to the end. 

This may at first seem extraordinary, but 
a little reflection will show that your statement 
is correct, for this experiment is only a striking 
example of the Law of Archimedes, which 
states that " when a body is immersed in water, 
it loses in weight an amount equal to the weight of the water dis- 
placed." 




Fig. 10. — A peculiar 
candlestick. 



SAFE SCIENTIFIC EXPERIMENTS 



303 



Now, whilst the candle is being consumed it is becoming shorter, 
but, on account of its diminution in weight, it rises in the water at the 
same rate at which it is consumed (Fig. 10). 

Making a Paper Fish Swim 

The title of this experiment suggests something rather wonderful, 
indeed, for it seems impossible to impart motion to a paper fish. 

It may be done, however, and quite easily, as will be seen from the 
following. 

From a piece of ordinary paper cut out a fish like that shown in 
the diagram, and of the size of an ordinary fish. In the center make 
a circular hole (A), 
communicating with 
the tail by a narrow 
canal. (A B) (Fig 
11). Having done 
this, fill an elongated 
vessel with water, and 
place the fish on the 
surface of the liquid 
in such a manner that 

the underneath face is completely moistened, while the other remains 
quite dry. 

You are now ready to set the fish in motion ; but to add to the interest 
of the experiment, challenge any of your friends to make the fish move 
without touching or even blowing upon it. 

This may seem to them impossible. This is how it is performed. 




Fig. 11. — The swimming paper fish. 




Fig. 12. — The swimming fish. 



With great care pour one large drop of oil into the opening (A) ; 
the oil at once tries to spread over the surface of the liquid, but that 
is only possible if it escapes by the narrow passage (A B). 

This it does, and owing to the reaction the fish is thrust in 



304 HOME FUN 

the direction opposite to the flowing of the oil — i.e. it will be thrust 
forward, the movement lasting long enough for the spectators to view 
with astonishment the unusual sight of a paper fish swimming 
(Fig. 12). 

Floating Pins and Needles 



If a drop of water is placed on glass it will at once spread, but if 
the same thing is done with a drop of mercury, the liquid will not 
spread, but remain in the form of a bead. 

These two different results are due to the fact, that whilst the 
water wets the glass the mercury does not. 

Now take a pin which has been well dried; it is a body which 
water will moisten, but owing to its very 
smooth surface, not so easily as in the case of 
glass. 

Suppose, then, that by some means or 
other you can place the pin so gently on 
the surface of the liquid that the water does 
not make it wet, you will notice that the water 
takes on either side of the pin a convex shape, 
and in this way a sufficient volume of water 
is displaced to allow the pin to float as if it 
were a match. 

The experiment may, of course, be as 
easily performed with a needle; nor must it 
be thought it is confined to pins and needles 
which are thin, for, with care, you may even 
succeed with big darning-needles. 
It has not yet been shown, however, how to place the pin on the 
water in such a manner that it is not made even wet. 

There are several ways of doing this, some requiring considerable 
practice. 

The following is the simplest. 

Float on the surface of the water a cigarette paper; place the pin 
upon it; leave the paper to sink to the bottom when it has become soaked, 
and the pin will float without any difficulty, for on either side of the 
pin the water takes the convex shape before mentioned, thus displacing 
sufficient water to allow the pin to float. 

In order to hide from the spectators the stratagem you have 
employed, gently remove the paner before showing them the floating 
pin. 




Fig. 13. — The floating pin. 



SAFE SCIENTIFIC EXPERIMENTS 



305 



Joined by Air 

The picture below is not taken from a prospectus advertising cement 
for joining glass and porcelain, but is simply used to show how atmos- 
pheric pressure may be utilized for joining glasses and plates. 

In order to accomplish this it is necessary to form a vacuum, but 
as an air-pump is not at the disposal of every boy a partial vacuum 
must suffice. 

To obtain this partial vacuum suspend a glass from the ceiling, or 
any other suitable place, by means of a string, and under it burn 
a piece of paper. This will 
cause the air it contains to 
expand. Immediately after- 
wards place the plate over 
the mouth of the glass, and 
it will adhere quite firmly. 

In order to prevent the 
entrance of any external air, 
and thus destroy the vacuum, 
the edges of the glass may 
be smeared with tallow. 

Now, how is it that the 
glass and plate are so easily 
fixed? Well, directly the hot 

air contained in the glass comes in contact with the cold surface of 
the plate, the air contracts, and as the plate prevents the entrance of 
any more air, a partial vacuum is formed within the glass. 

As the atmospheric pressure is much greater than the pressure from 
within, the plate remains firmly fixed to the glass (Fig. 14). 




Fig. 14. — Joined by air. 



Glass Raising Extraordinary 

This experiment, similar in principle to the last, is quite as striking 
in its effect. 

It consists of raising in air a glass filled with water, by causing it 
to adhere to the hand when the latter is held quite open. 

With the last experiment fresh in our minds, it is not difficult to 
guess that this phenomenon is due to the existence of a partial vacuum 
under the hand, but it is not so easy to know how to obtain this 
vacuum. 

The means of carrying out the experiments are as follows: — 

Put the glass filled with water on the table, and over the top place 



3 o6 HOME FUN 

the palm of the hand, taking care that the four fingers are bent almost 
at right angles, as shown in the first of the accompanying figures 
(Fig. 15). 

If, continuing to press the palm of the hand on the edge of the 
glass, you raise the four fingers quickly, thus having the palm stretched 





Fig. 15. — Glass raising extraordinary. 



Fig. 16. — Glass raising extraordinary. 



out. you will force out most of the air which is between your palm and 
the surface of the water, and in this way you will produce under your 
hand a partial vacuum. This vacuum will be sufficient to allow the 
atmospheric pressure to overcome the weight of the glass and its con- 
tents ; thus a sucker is formed which allows the glass to remain attached 
to the hand (Fig. 16). 

A Novel Glass Emptier 

If you are given a glass filled with water, and a bottle equally full, 
and then asked to empty the glass by means of the bottle, and that 





Fig. 17. — The glass-emptying bottle. 

without emptying the bottle itself, you will imagine you have been set 
a very difficult task indeed. 

You will soon see, however, that the solution to this seemingly 
difficult experiment is quite simple. 



SAFE SCIENTIFIC EXPERIMENTS 307 

First take a cork, and in it pierce two holes. Through these gently 
push two straws, one being as long as the glass, the other considerably 
longer (Fig. 17). 

By means of a pellet of bread or wax close the opening of the shorter 
straw, and push the cork into the bottle until the water gushes out 
of the longer straw. 

In order to empty the glass it is now only necessary to turn the 
bottle upside down, in 
such manner that the 
little straw touches the 
bottom of the glass. 

Then, taking a pair 
of scissors, cut this straw 
very near the end which 
is sealed. 

Immediately the water 
in the glass will flow out 
by the long straw un- 
til the glass is quite 
empty, despite the fact 
that the bottle has re- 
mained full all the time 
(Fig. 18). 

Now for a few words 
of explanation, in order 
to make clear the reason 
for this unexpected ac- 
tion. 

The two straws form 
the two arms of a siphon, 
and as they are full of 
water it is not necessary 
to remove any air from 
them. 

As the liquid flows out of the long straw, it tends to produce 
in the bottle a vacuum. As a vacuum is contrary to nature, it is 
immediately destroyed by the entrance of an equal quantity of water 
from the little straw, for the atmospheric pressure exerted on the 
water in the glass keeps this little straw continually full. In this 
way all the water is drawn from the glass by the bottle filled with 
water. 




Fig. 18. — A novel glass-emptier. 



3 o8 



HOME FUN 




A Striking Siphon Experiment 

A very pretty experiment with the siphon may be performed by 
making use of the following simple apparatus: An ordinary glass; a 
little water colored, say with aniline; a piece of rubber tubing about 
an inch long, one end of which is cut obliquely, as shown in the diagram; 

together with a piece of glass tubing from 
four to five feet long. 

This tubing may be obtained from almost 
any druggist. 

Prepare for your experiment by taking 
the length of tubing and, with a gas flame, 
drawing one end out to a point. 

Having done this, bend the tube twice, 
as shown in Fig. 19, particular care being 
taken to avoid any sharp angles. The bend- 
ing of this tubing is easily done by holding 
it in a gas or spirit-lamp flame until the 
flame is colored yellow. The glass is then 
soft enough to be gently bent to the required 
angle. 

Over the end which is not pointed slip 
the piece of india-rubber tubing, and then 
place this end in the colored water. 

By applying suction to the pointed end 
of the tube with your mouth, the siphon may 
be set in motion. 

If now you so arrange the tube that the 
oval opening is partly out of water, the 
flowing liquid will draw in bubbles of air 
which, passing alternately down the tube with the drops of colored 
water, produce a very pretty result. 

The shape and size of the air bubbles may be altered at any time 
by raising or lowering the tube, and this will add to the effect of the 
experiment. 

The experiment may be again varied by removing the tube 
from the liquid, and before lowering it again, allowing 10 
or 12 inches of air to enter. This long bubble will be 
seen to pass slowly down the tube until it arrives at the 
small opening, when it will be expelled at a great rate. The 
liquid following this bubble acquires the same velocity, and, arriving 
at the point, is ejected with such force that it will rise to a height of 
6 or 7 feet. 





^o 000 



Fig. 19. — A siphon experiment. 



SAFE SCIENTIFIC EXPERIMENTS 



309 



An Electric Fountain 

Most of you would like to make an electric fountain, especially when 
you learn how simple and easily arranged is this striking experiment. 
Your apparatus consists solely of a glass, a long india-rubber tube, with 
two small glass tubes and a piece of sealing-wax (a stick of sulphur 
or piece of vulcanite will do just as well). 

Make a small nozzle by drawing out a length of bent glass tubing, 
and, by means of a long piece of india-rubber piping, fix it to another 
piece of bent glass 
tubing. Place the 
first piece of tubing 
bent at two right 
angles over the side 
of a glass filled with 
water, taking care 
that the reservoir 
thus formed is from 
3 to 4 feet above the 
nozzle (Fig. 20). 

When the foun- 
tain is playing the 
issuing jet of water 
will be inclined to 
one side. 

Now to electrify 
the fountain. Take 
the piece of sealing- 
wax, vulcanite, or 
sulphur, and, after 

seeing that both your hand and the material you hold are perfectly dry, 
rub the sealing-wax on the sleeve of your coat. 

If now you hold the sealing-wax opposite the stream of water, at a 
distance of a few feet, a remarkable change will come over the cas- 
cades. Instead of the water falling in scattering drops, these latter 
will at once unite, and descend in a solid stream, whilst directly the 
sealing-wax is removed the jet of water returns to its original form. 
If the water be allowed to fall on a piece of stiff paper, a difference 
in sound will be noticed according as the water falls in a stream or 
in drops. 




Fig. 20. — An electric fountain. 



3io 



HOME FUN 



The Bottle Cannon 

Doubtless you would like to have at home the experience of firing 
a cannon, of hearing a report loud enough to frighten nervous persons, 
to see the shell fly as quick as lightning, and then to witness the recoil 
of your home-made piece of artillery. 

Your apparatus will be quite simple, for you must first take a strong 
bottle, such as a vinegar, or better still, a champagne bottle, and fill it 
a third full with water. 

Next take a little carbonate of soda, and also some tartaric acid, both 
of which may be obtained at any druggist's, taking care to wrap them 
in packets which will not be confused one with the other. 

Dissolve the carbonate of soda in the water contained in the bottle, 
at the same time placing the tartaric acid in a playing card rolled in the 




iiiiiiiiiiiiJiilniiiii/ii<') /)!i"/'iinnjiijii/fii(fiiii/ii<i//^«iOj/i/^ — ' 



Fig. 21. — The bottle cannon. 



form of a cylinder, one end of which should be filled with a plug of 
blotting-paper. 

Having accomplished this much to your satisfaction, suspend the 
cartridge just made from the cork of the bottle by sticking in it a pin 
to which is attached a thread, particular care being taken that the bottle 
is standing upright on the table, and that the open end of the tube is the 
upper one. 

After having regulated the length of the thread so that the bottom 
of the tube does not touch the liquid in the bottle, tightly fit the 
cork in. 

You now have your cannon charged, and all that remains to be done 
is to fire it. 



SAFE SCIENTIFIC EXPERIMENTS 311 

This is done by laying the bottle horizontally on two pencils placed 
parallel to one another, thus forming a gun-carriage. Immediately the 
bottle is so placed, the water penetrates the tube, and dissolves the tar- 
taric acid. The carbonic acid gas which is immediately produced blows 
out the cork with a violent explosion, whilst at the same time, owing 
to the reaction, the bottle rolls back on the two pencils, in exact imitation 
of the recoil of a piece of artillery (Fig. 21). 



CHAPTER XXXVII 

SAFE CHEMICAL EXPERIMENTS 

Twentieth-Century " Black Art " 

As we stand in the twentieth century and peer curiously down the 
corridors of Time, we find at all periods a deep interest in chemical 
phenomena. 

From the age when wisdom devoted itself in vain to the discovery of 
an elixir of life and a method of transmuting the base metals into gold, 
to the present day, when scientists pursue their experiments with more 
reasonable and far worthier hopes, chemistry appears never to have 
suffered any dearth of devotees, despite the fact that in olden times 
one had either to occupy a high position or be a man greatly daring 
if the Black Art was to be followed without fear of molestation. 

To-day matters are different, so that the junior chemist need only 
anticipate interference from materfamilias — a truly excellent person, 
who, however, invariably regards chemical concoctions with hostile 
contempt. 

The obstacles instanced in the previous paragraph being foreseen, 
perhaps no better initiative can be taken than to conciliate the house- 
hold deities by the performance of some particular experiment which 
has an obviously beneficial result. This might happily be the removal 
of ink stains from white linen; and naturally, if no cloth happen to be 
so disfigured, some arrangement must be made whereby the ink is 
accidentally spilt! 

Experiments with Chlorine 

(i) Apparatus. — Erect a 4-oz. round-bottom flask about 8 inches 
above the table (A, Fig. 1), by clamping its neck in a wooden clip or 
twisted stiff iron wire, and fastening this to a firm standard. Intro- 
duce three or four tablespoonfuls of powdered manganese dioxide 
(obtainable cheaply in qr. lbs. at most druggists'), and pour over this 
spirits of salt until the flask is one-third full. Into the neck now fit 
a cork provided with two circular holes, through one of which a 
stem funnel passes, and into the other a glass tube fits tightly, being 

312 



SAFE CHEMICAL EXPERIMENTS 



3i3 



bent at two right angles, as shown in Fig. 1. The glass tube may be 
readily bent by softening it first over a spirit lamp — the flame being 
colored distinct yellow when the glass reaches a pliable state. Slide 
a 4^ -inch disc of paper (B, 
Fig. 1) on the free limb of 
tube, and also soak several 4- 
inch circles of cardboard in 
water. These will make satis- 
factory covers for the small 
glass preserve jars, in which 
the gas is to be collected. 

(2) Preparation. — Place 
one jar beneath the glass tube 
so that the latter's orifice 
reaches nearly to the bottom, 
and slide the paper disc down 
until it covers the mouth of the 
jar C. On warming the glass 
flask gently with a spirit lamp 
or, if available, Bunsen gas 
flame, a greenish-yellow gas is 
evolved, and gradually expels 
the air from flask, tube, and 
jar, until this latter is filled with heavy chlorine, 
interrupted whilst the one jar is removed, covered with a moist card- 
board disc, and replaced by another. The heating again proceeds, 

and so on until each remaining jar is 

successively filled. 

Chlorine Experiments (1). — Damp 

an addressed envelope, received 
r. through the post, by pressing be- 




Apparatus for chlorine experiments. 



The warming is then 




tween sheets of wet blotting-paper, 
and stand it in a jar of chlorine with 
the cover replaced (A, Fig. 2). The 
writing ink address will soon begin 
to fade and finally disappear, whilst 
the postmark, which has been im- 
pressed in indelible printing ink, 
remains unaltered. This reaction shows that chlorine possesses the 
valuable property of bleaching writing ink. It may be turned to account 
in removing stains from cloth by wetting the spoiled material first and 
then standing in a vessel containing the yellow gas (Fig. 3). The 
fabric must be quite damp, however, as bleaching only proceeds in the 



Fig. 2. — The unalterable postmark. 



3H 



HOME FUN 



presence of moisture. Coloring matters, other than black ink, are 
readily removed by chlorine, as may be strikingly shown by steeping a 
wet rose blossom or bunch of violets in a jar of the gas (Fig. 4) ; 




Fig. 3. — Removi 



ng stains from linen by means 
of chlorine. 



Fig. 4. — The transparent rose. 



the flowers assume a transparent waxy appearance, that will puzzle any 
spectator as to their real identity. 

Chlorine Experiments (2). — The energetic gas attacks many sub- 
stances spontaneously. If thin blotting-paper be soaked in turpentine, 
drained, and dropped into a jar of chlorine, the oil takes fire at once, 
burning rapidly amid smoky black fumes. Metals are attacked just 
as readily as the inflammable oil of turpentine. Powdered antimony 
metal or iron filings shaken into a jar of chlorine scintillate brilliantly 
with the evolution of thick white fumes. Similarly Dutch metal 
leaf, used for gilding cheap picture frames, ignites in the gas; a salt of 
copper being precipitated to the bottom of the jar when the action has 
ceased. 

All dealings with chlorine should be conducted in a well ventilated — 
even draughty — room, and care must be taken not to inhale the gas. It 
corrodes animal tissues just as eagerly as it attacks turpentine and 
metals. The gas is very heavy, however, and is therefore the less diffi- 
cult to keep under control. 

Niter Paper. — Touch-paper burns quickly, surely, and without 
flame. It is prepared by soaking thin tissue paper with a saturated 
solution of saltpeter in weak vinegar, and when dry feels rough and 
crisp to the touch. Moreover, it burns with a rather pleasant smell. 
The advertisement scheme of bygone days, wherein a lighted match 
was placed on a particular spot of a paper sheet, and thence the name 
of the advertised commodity gradually burnt itself out over the 



SAFE CHEMICAL EXPERIMENTS 



3*5 



surface, was a modification of this preparation (Fig. 5). The name or 
design is simply drawn with a pointed stump of wood dipped repeatedly 
in the saltpeter solution, and the starting-point marked conspicuously 




Fig. 5. — A niter paper experiment. 

by a cross or black spot. When dry a match is applied to this mark. 
If there is a tendency for other parts of the paper than the design itself 
to burn, a short immersion in dilute alum solution, when the salt- 
peter lines have dried, may be resorted to. 

Electric Fire. — This compound is in no way of an electric nature, 
except that it burns rapidly with brilliant blue illumination. The 
constituents are flowers of sulphur, saltpeter, and antimony, four parts 





Fig. 6. — Lighting electric 
fire. 



Fig. 



7. — A sodium or potassium 
experiment. 



of the former being intermingled with ten parts of powdered saltpeter, 
and then one-seventh the total quantity of powdered antimony finally 
added. Thorough mixing by gentle stirring must be insured. A good 
method of firing the powder is to pack it round a twist of touch- 
paper in a small mustard tin, threading the fuse (A, Fig. 6) through a 
hole in the lid, so that it may be lighted easily. The mixture burns 



316 HOME FUN 

not only brightly, but with intense heat — sufficient to melt the thin iron 
of the inclosing tin. 

The Lightest Element. — Hydrogen is a gas at ordinary temperature, 
and has the honor of being the lightest element, for all practical 
purposes, known. For this reason it finds wide employment in filling 
balloons and airships. The most common methods of preparation con- 
sist of decomposing water or an acid in their several constituents, 
either by the influence of electricity or the reaction of a metal. For 
instance, if a pea's bulk of sodium or potassium metal be thrown into 
a basin of water, A, Fig. 7, (the experimenter should not bend directly 

over the vessel), a vio- 
lent reaction ensues, the 
t ,/'0 metal decomposes and 
<zte hustles round the sur- 
face as though in fever- 
ish excitement, and in 
the case of potassium a 
purple flame springs up 
spontaneously. The so- 
dium may also be ig- 
nited if it is thrown on 
to a floating piece of 
blotting-paper, or if the 
water be thickened with 
starch. This metal burns with a yellow flame, or rather colors the 
hydrogen flame yellow. 

Preparing hydrogen by the foregoing method is inconvenient and 
expensive if any quantity is to be collected, and so in this case the 
following plan is usually adopted: — Support a flask (A, Fig. 8), and 
place zinc chips (B) in it to the depth of about j4 i ncn - Fit the 
mouth with a cork, through which passes a delivery tube (C) and a 
"thistle" funnel (D), dipping nearly to the level of the zinc. When 
the gas is required, dilute sulphuric acid — one part oil of vitriol to ten 
parts water — is poured down the funnel until the flask is about one- 
third filled (E). 

Five or ten minutes should be allowed after bubbling has com- 
menced before an attempt is made to light the gas at the delivery tube, 
as otherwise air from the flask may be intermingled in the exact pro- 
portion to cause a bad explosion. No danger need be feared if several 
minutes are allowed for the air to be thoroughly dispelled, or, as an 
additional measure of safety, a damp towel (F) is wrapped round the 
flask to prevent scattering of the glass in the event of a mishap. The 
glass delivery tube should have been softened in a spirit flame and 




An interesting hydrogen experiment 



SAFE CHEMICAL EXPERIMENTS 317 

drawn to a fine point where the hydrogen issues. The gas will be 
found to burn with an almost colorless flame. 

If a glass tube (A) of larger bore than the delivery pipe be slid 
over this latter while the gas burns, a peculiar musical note is produced 
— hollow-sounding and shrill (Fig. 9). It is caused by the rapid 




Fig. 9. — A musical flame. 

succession of slight explosions which constitute the combustion of 
hydrogen. 

The extreme lightness of hydrogen, as well as its combustibility, 
is well illustrated by blowing a soap bubble. Connect a clay pipe with 
the glass delivery tube by means of a length of india-rubber tubing, 
and provide this latter with a small clip — tie-clip, for example — so 
that the gas supply 
may be shut off at 
will (Fig. 10). Let 
the hydrogen pass for 
a minute or so, to 
clear air out of the 
clay pipe, and then, 
having shut off the 
gas, dip the pipe bowl 
into soap-suds. Next 
open the clip until the 
hydrogen has blown >\ — — ^^^^-ij 

the bubble large ^-^--^-— = « 

enough, and then shut Fig. 10.— To explode a soap bubble. 

off, shaking the shim- 
mering globe free. It will rise very quickly, just like an unballasted 
balloon, and if a lighted taper be applied to its surface it will explode 
to annihilation with a loud report. 

Spirits of Hartshorn. — Commercial ammonia is actually an aqueous 
solution of the gas, which dissolves to an abnormal extent in water. 
When it has been absorbed as much as possible the liquid weighs only 
22.25 as much as an equal bulk of water, owing, of course, to the 
latter's association with a compound far lighter than itself. So great 
is the energy of solution that heat is dissipated from the liquid as 





Fig. ii. — Freezing a flask of 
ammonia to a block of wood. 



318 HOME FUN 

absorption proceeds. Conversely, if the gas be dispelled by blowing 

air through strong liquor ammoniac, heat is rapidly absorbed at the 

expense of surrounding objects. To show this, stand a small flask 

in a pool of water on a wood block, and 
having about half filled the flask with 
fresh ammonia, blow into this through a 
glass tube connected with the mouth by 
a length of rubber tubing (Fig. 11). No 
long time should elapse before enough 
heat has been abstracted from the water 
to convert it into ice, so that the flask is 
frozen firmly to the wood. 

Another demonstration of water's 
avidity for ammonia gas is afforded by 
the following performance. Erect one 
large flask (A) in an inverted position, 
so that the distance between its neck and 
the table is several inches greater than its 

own height. Some distance away, as shown in Fig. 12, erect a small 

4-oz. flask (B), and half fill it with a mixture of four parts sal- 
ammoniac to three parts slaked lime (C). Fit the neck with a cork 

and a delivery tube, 

which has been so 

bent as to pass 

through a stopper in 

the mouth and reach 

nearly to the bottom^ 

of a jar (D) packed 

with quicklime (E). 
Another glass 

tube (F) issues 

from this chamber 

— but only from just 

below the cork's 

under surface — and 

passes upwards into 

the orifice of the 

large flask. A 

square of paper (G, in Fig. 12) is pushed over the glass tube and presses 

against the mouth of the flask. 

If now the mixture in the 4-oz. flask be warmed, ammonia gas 

is produced, and having been robbed of moisture by the quicklime 

through which it passes, travels upwards, and collects in the large in- 




Fig. 12. — To prove water's affection for ammonia. 



SAFE CHEMICAL EXPERIMENTS 319 

verted flask. When the action has continued for a little while, stop 
the heating and remove the delivery tube, and bring an open spirits of 
salt bottle near the inverted flask's mouth. If dense white fumes are 
immediately formed, the flask is known to be filled with ammonia gas, 
and must be corked up. 

Beneath this container is next stood another large flask filled with 
red litmus solution (A) and fitted with a stopper, through 1 which pass 
two glass tubes (M and N, in Fig. 13). 
One of these (N) is bent outwards, 
and extends only just inside the flask's 
neck, whilst the other is long enough 
to reach from the bottom of the lower 
flask almost to the top of that holding 
the ammonia. Instead of red litmus 
solution, a liquid made by boiling 
red cabbage leaves in water, and 
adding just enough vinegar to dispel 
entirely the bluish coloration, may be 
used with equal success. 

The position then is that two 
flasks — of which the upper (B) holds 
ammonia gas, whilst the lower re- 
tains a pink solution — are supported 
one above the other, their necks 
approaching and joined by a glass 
tube (M). A second glass tube (N) 
also emerges from just above the 

surface of the pink liquid, and is bent outwards from the flask, so that 
it may be held in the mouth. When this is blown through, the pink 
water is forced up the connecting tube (M) and sprays out, fountain- 
like, within the upper flask. Moreover, as the ammonia is so rapidly 
absorbed by the incoming water, this continually ascends to fill the 
vacuum, which tends to form as the gas is dissolved. The fountain 
continues to play when the blowing has ceased, and further, although 
the spray presents a reddish tinge on entering the flask, it immediately 
turns blue as the ammonia dissolves (C, Fig. 13). This reaction in- 
dicates the alkalinity of ammonia, such substances being capable of 
neutralizing acids, which redden solutions of vegetable blues. 




A novel fountain. 



CHAPTER XXXVIII 

ODD EXPERIMENTS 



To While Away Winter Hours 

The famous King Belshazzar was much dismayed to see the mysterious 
writing upon the wall of his palace. Without reducing your friends 
to a similar state of terror, a very easy experiment can be performed 

productive of the same effect, 
and if it does not exactly 
make their knees strike to- 
gether, it will astonish them 
very much. 

The appliances are such 
as can be found in any home, 
and the strange writing can 
be produced in the following 
way. 

At one end of a dark 
room erect a screen that 
shall conceal you and your 
apparatus effectually from 
the spectators. Upon a table 
behind this screen place a 
large mirror, such as can be 
found upon any dressing- 
table. Put a lighted candle 
in front of this glass, placing 
the latter at such an angle 
that a large patch of light is 
thrown upon the wall before 
you, as in Fig. I. 
The screen must, of course, hide all this from the company, who 
will see nothing but the light on the wall. 

To write your message is now a very simple matter. Dip a 
coarse brush into some lamp-black water color, and, writing back- 
wards, inscribe what you wish upon the face of the mirror. The 

320 




Fig. 1. — Showing relative positions of candle and 
mirror so that patch of light is thrown on the wall. 



ODD EXPERIMENTS 321 

message will then appear legibly upon the wall, seemingly written 
by a mysterious hand. 

By dipping the brush into clean water and washing out what you 
have written upon the glass, the message on the wall will disappear as 
inexplicably as it appeared in the first place. 

A peculiar optical illusion is accomplished as follows. The wish- 
bone of a fowl or duck should be thoroughly cleaned, and a 





Fig. 2. — Thread passed round 
prongs of the bone. 



Fig. 3.— Match through twisted 
thread. 



thread passed several times around the prongs of the fork, as shown 
in Fig. 2. Having secured the thread tightly, pass a strong wooden 
match between the strands, twisting it several times until the prongs 
of the bone have been drawn closer together (Fig. 3). 

Now, pulling out the match sufficiently to allow of one end catch- 
ing against the fork, hold the bone firmly. Releasing the match it 
immediately describes a circle, 
striking against the under part 
of the fork, but so rapidly has 
it completed this revolution 
that the eye has been quite 
unable to follow it. This 
causes an illusion that in- 
duces all who witness the 
experiment to imagine that 
the match passes through ( 
the fork of the bone at A. 

But if the eye was too 
slow in the last experiment, Fig. 4.— The lion and his cage, 

it is so officious in what is 

next to be described that it sees something which really does not 
take place. 




322 HOME FUN 

Draw a lion and a cage, as in Fig. 4. If you place a visiting 
card upon the line A B, and put your face so near that the right 
eye looks upon the lion whilst the left can see only the cage, you 
will observe the lion walking into his cage as naturally as if he were 
at the Zoo ! 

A rather amusing experiment, and one which will afford im- 
mense pleasure to the juvenile members of your party, is as fol- 
lows : — 

Cut a circular disc of stout cardboard 12" in diameter. In the 
center make a hole to allow the disc to revolve easily, but not loosely, 





Fig. 5. — Disc of cardboard kept in 
place with penholder. 



Fig. 6. — Showing box in correct 
position. 



upon a wooden penholder, which should be fixed at right angles to 
a wooden stick (Fig. 5). 

Upon the center of the disc fasten a cylindrical cardboard box 
(A, Fig. 6), with the penholder passing right through it. This box 
should be roughly 3" high and 2" in diameter. 

At a radius of ^y 2 " from the center describe a semicircle upon the 
disc at E F (Fig. 6), whilst upon the same half of the cylinder describe 
a line as G H in the same figure. Now pierce about twenty-five 
equidistant holes in E F and G H, joining them with thread, as in 
Fig. 7. 

Cover these threads with little strips of paper in such a manner 
as to make a plane surface, as shown in Fig. 8. Then fasten a 
cork upon the end of a wire attached to the stick, and in a cleft in 
this cork put a little cardboard figure as in the illustration. 

Make the disc revolve by a rapid turn of the hand, and if a candle 
be so placed as to cast the shadow of the little man upon the disc, 



ODD EXPERIMENTS 



323 



he will be seen engaged in making sundry passes and lunges in the 
manner of the perfect fencer. 

Various other figures can be made in a similar way with great 





Fig. 7. — Mode of joining thread. 



Fig. 8. — The toy complete. 



success, and when cleverly managed the toy will be found most 
amusing". 



Life Partners 

If at any time it should happen that an engaged couple are 
amongst the friends whom you wish to entertain, a very simple 
piece of apparatus can be made that will give these good people 
much pleasure. 

In the four sides of a cube box, measuring 18" each way, make 
an oval opening, 9" by 7", as A, B, C, D in Fig. 9. Inside the box place 
two mirrors, back to back, diagonally from G to E (Fig. 10), and 
contrive four curtains to draw up simultaneously over the holes. 

You must now get two couples to look through the holes, 
arranging the two men opposite each other, as at A and C, and 
the ladies at B and D, promising them that by looking into the 
simple but magical box they shall see the future partners of their 
lives and pleasures. 

As soon as they are in position raise the curtains, when A will 
see B, and C will be gazing at D, so that if you have sorted the 



324 



HOME FUN 



parties aright, they will feel so pleased with themselves and with you 
that no inquiry will be made as to how the trick is done. 

To turn from sight to hearing, the following is a simple experi- 
ment which can be exhibited without any special apparatus. 





Fig. 9. — Showing box with oval 
openings. 



Fig. 10. — Showing box with oval 
openings and mirrors. 



Cut a plain cross from a sheet of notepaper, as in Fig. 11, and 
place it over a wine-glass, bending the ends to prevent it slipping 
off. Almost fill the glass with water, taking great care to leave the 
sides and rim perfectly dry. 

If you damp your finger and pass it over any part of the glass 

outside, a distinct humming will be 
heard, but the more remarkable thing 
to observe is that the cross will begin 
to revolve very slowly so long as your 
finger rubs a portion of the glass be- 
tween the arms of the cross — as at A 
in Fig. 11. Yet when you begin to 
rub beneath one of the arms the paper 
will remain perfectly still. A complete 
revolution of the paper can be pro- 
duced by rubbing round the glass in a 
circle. 

Fig. 11.— Showing paper cross and The vibration of the glass when 
glass almost filled with water and . . ,, . 1 • ,, • •, 

cross placed over the top. emitting the notes explains this pheno- 

menon, although the reason that the 
cross should remain still when you rub beneath one of its arms is 
too technical for explanation here. 




ODD EXPERIMENTS 



325 



A Light Experiment 



Why do we wear white clothes in extreme heat and dark clothes 
in the winter? To this question every one will answer that white 
clothes absorb less heat than black, and that 
we therefore feel the rays of the sun less. 

Quite true; and yet, how is it that Polar 
bears and other Arctic creatures exposed to 
such extreme cold are clothed in white? 

The fact is that not only does white absorb 
less heat, but it serves to retain heat, and a 
white coat preserves the natural warmth in 
the animal's body. This is exemplified by the 
following experiment, for which only a tumbler 
is required. 

Choose a glass with the lower part faced, 
as in Fig. 12. Color these faces black and 
white alternately, a little India ink serving for 
the former and some crushed chalk and water 
for the latter. 

With a very small knob of wax fasten a pin to each face, as shown in 
the figure. Having done this place a lighted candle within the glass. 

The heat, striking the interior equally, is modified by the colors 
painted on the outside to such an extent that after some little while the 
wax supporting the pins of the black faces is melted, whilst the pins on 
the white parts remain unaffected. This shows very clearly that the 




-A " light " experi- 
ment. 



D 



V 



white prevents the escape 
of internal heat, as surely 
as it prevents the penetra- 
tion of external warmth. 

The Pyrometer 




Fig. 13. — Showing how to make a pyrometer. 



C We all know that 
metals expand under heat. 
The amount of such ex- 
pansion may be measured 
by a simple little apparatus called a pyrometer. 

On a wooden base, B, C (Fig. 13), make two uprights, A and D, of 
which A must be a half inch higher than D. Bore a hole a quarter 
of an inch^from the top of A, but not right through the wood. 

A couple of pins must be bent into the shape of a Y and driven into 



326 HOME PUN 

the top of D, as in Fig. 13. With a little sealing-wax fasten a paper 
pointer to the eye end of a needle and lay the needle across the pins, 
P, P (Fig. 14). Next place an ordinary knitting-needle in the hole at A, 

and rest it over the small 
needle with the pointer. The 
pyrometer is now complete. 
Put a lighted candle un- 
der the knitting-needle 
tween D and A, as in 
figure, taking care that 
flame plays 
needle. As 




be- 

the 

the 

freely upon the 

the latter grows 



Fig. 14.- 



-Showing needle laid in position across 
pins. 



hot you will notice that the 
pointer moves slowly from 
left to right, being acted upon by the hot knitting-needle passing over 
the axle at X. 

If a small paper dial be made against the pointer, the amount of the 
expansion can be even more clearly observed. Of course two or even 
more candles may be used, the result being that the needle shows more 
and more expansion as it becomes hotter. 



The Broken Bottle 

An interesting and useful experiment with a broken bottle is depicted 
in Fig. 15. 

Fill the broken .piece with oil to whatever level you desire it to be 
cut, and stand it upon a perfectly level table. Now plunge a red-hot 




Fig. 15. — Portion of broken 
bottle for experiment. 




Fig. 16. — Showing smooth break 
after red-hot poker has been 
plunged into the oil. 



poker into the oil and hold it there for a few seconds, when there will 
be a loud crack, and the top of the broken part will come off, even and 
smooth, as in Fig. 16. 



ODD EXPERIMENTS 327 

It may not be generally known that a sheet of glass may be cut 
regularly and evenly with a pair of strong scissors. 

A glance at Fig. 17 will give 
an idea of how this is done. The 
apparatus required is a large pail 
of cold water and a pair of strong 
scissors. 

Plunge the glass, the scissors, 
and the hands, right into the 
water so that no part of either 
scissors or glass escapes immer- 
sion. You will now find that the 
scissors cut cleanly without the 
glass cracking or splintering. 

The reason for this is that Fig. 17.— A glass-cutting experiment, 

the water deadens the vibrations 

both of the scissors and the glass, thus insuring a neat and clean 
fracture. 





Fig. 18. — Walnut shell with necessary 
holes bored. 



Compressed Air 

An interesting and effective experiment may be performed with 
compressed air. The arrangements are very simple and the require- 
ments few. 

Divide a walnut shell into two, and bore a hole in the bottom of 

each half. In one of the cups thus 
obtained make another hole half-way 
up the side, as in Fig. 18. Now, 
with a little sealing-wax fasten three 
straws into these holes. 

In the cork of a fair-sized jar, 
which should be of some opaque 
glass, bore two holes, through which the straws must be placed at 
unequal heights, as shown in Fig. 19. Having almost filled the jar 
with clear water, place the cork with the straws so tightly that no air 
can possibly enter either at the sides or by any other means than 
through the straws. 

The following strange effect will now be obtained. Pouring some 
colored liquid into the top shell A, plain clear water will come from 
the spout C of the lower shell B, and will continue as long as you pour 
from above (Fig. 20). 

The reason of this is that the compressed air in the jar forces the 
clear water through the straw at B, which, being plunged deep into 



328 



HOME FUN 



the clear liquid, carries off none of the colored matter passed into the 
jar by means of A. 





Fig. 19. — Showing positions 
of straws for experiment. 



Fig. 20. — Pouring the colored 
liquid into the top shell. 



This experiment may be performed with red wine and water, but 
the result is not quite so satisfactory on account of the ease with 
which wine and water mix. 



CHAPTER XXXIX 

MORE EXPERIMENTS 
TIPS AND DODGES FOR THE WINTER EVENINGS 




S) CD 



The Refractory Cork 

A very interesting and amusing experiment may be performed, with 
a bottle and a cork. 

Take a cork of a diameter less than the internal diameter of the 
neck of the bottle you propose using, and ask a friend to make it 
enter the bottle by blowing upon it. 

At first sight this seems a very easy task, and your friend at once 
proceeds to blow strongly upon the cork. This, however, instead of 
making the cork enter the 
bottle, causes it to fly out. 
Again your friend tries to 
overcome the troublesome 
cork, on the next occasion 
by blowing very gently, but 
again it flies out (Fig. i). 

The explanation of this 
is as follows : — 

In blowing upon the 
cork, a certain amount of 
air at the same time enters 
the bottle, the air in which becomes so compressed that it rapidly 
ejects the cork. There are, however, three ways in which the re- 
fractory cork may be overcome. 

Since you know that by blowing on the cork it is at once ejected, 
try to achieve success by performing the contrary action — that is, by 
withdrawing some of the air from the bottle. 

Indeed, the experiment will prove to you that, by so doing, you 
create in the bottle a partial vacuum, and as soon as your mouth 
leaves the neck of the bottle air enters it owing to atmospheric pres- 
sure. This incoming current of air pulls with it the cork, which at 
once slides into the aperture. 

The same result may also be achieved by first warming the bottle, 

329 




Fig. 1. — The refractory cork. 



330 



HOME FUN 



when, owing to the expansion of the air, a part of it is expelled. 
Directly the air inside the bottle cools, a vacuum is created, and a 
current of air from without enters. If you add to this current of air 
by blowing air from your mouth, you will find this quite sufficient to 
cause the cork to enter the bottle. Then, again, having a straw or a 
pipe-stem handy, all you have to do is to blow through the tube, 
directing the air exactly on the base of the cork, which will once again 
enter the aperture. 

Whichever of these means is adopted, you must always take the 
precaution of seeing that the bottle is perfectly dry. It should be 
wiped every time. The moisture formed in the neck is sufficient to 
prevent the cork from gliding along the glass. 

The Flying Coin 




You may be inclined to think that special apparatus is necessary 
to make a coin fly from the bottom of a glass, but here is shown a 

very simple method by 
which the trick may 
be performed at any 
moment in your home. 
First procure a 
liqueur glass of conical 
shape, having in its 
largest part a diameter 
not much greater than 
that of a silver dollar. 
At the bottom of this 
glass place a quarter, and 
above it, near the top of 
the glass, a silver dollar, 
the latter forming a kind 
of cover (A, Fig. 2). Now declare to your friends that, with- 
out touching the dollar, you will make the quarter jump from the 
glass. 

This at first seems to them an impossibility, but all you have to do 
is to blow very strongly on the edge of the dollar. This will make 
the larger coin turn about on its own diameter into a vertical position, 
whilst the compressed air under the quarter causes the latter to fly 
out of the glass, after which the dollar returns to its original horizontal 
position. 




Fig. 2. — The flying coin. 



MORE EXPERIMENTS 



33i 



A Cigarette-smoking Lamp-glass 



one following 





Fig. 3. — The self- 
smoking cigarette. 



This is a very striking experiment, and is quite easy to perform. 
The apparatus is also quite simple, and may be easily obtained. It con- 
sists of a lamp-chimney, a cork, a cigarette, together with two little valves. 
Tightly cork up one end of the lamp-chimney with a large cork, thus 
hermetically sealing it. In this cork bore two holes 
the line of the cork's axis and having exactly the same 
diameter as the cigarette; the other being oblique with 
respect to this axis, and having a much smaller dia- 
meter (Fig. 3). 

It is now necessary to make the valves. This is 
done by cutting from a glove two round pieces of the 
skin or leather, which, by means of 
pins, may be fixed over the holes, 
''/one being above the little hole on 
the top of the cork, the other over 
the large hole on the under side of 
the cork. 

The first valve allows the smoke 
to escape, at the same time pre- 
venting the entrance of any external 
air, whilst the lower valve allows the smoke. from 
the cigarette to enter the glass tube, but will not 
allow it to escape by the same hole. 

Having thus made the valves, next plunge the 
tube in the water as far as the cork, and place the 
cigarette in the hole made for it. After having lit 
it, proceed to make the lamp-chimney smoke it. 

In order that it may inhale the smoke, slowly 
raise the glass. By so doing a vacuum is produced 
between the surface of the water and the bottom of 
the cork. To destroy this vacuum, air must enter 
from without, and the only means of its entrance 
is through the cigarette, as the valve on the top of the cork remains 
tightly closed. In passing through the cigarette this current of air 
greatly assists combustion, and the smoke formed will pass with the 
air into the lamp-chimney. 

If now the glass be lowered again, the air which is compressed by 
so doing closes the central valve, whilst that above the oblique tube is 
opened. From this valve the smoke will ascend in clouds (Fig. 4). 
In this way the glass may be made to smoke the whole cigarette. 



Fig. 4. — The self- 
smoking cigarette. 



332 



HOME FUN 



Water Swinging 

Nearly every one has seen, at the circus or elsewhere, an acrobat 
executing giddy circular movements with a glass of water, and doubt- 
less has wondered how it is that none of the liquid is spilt. This is 

due to the action of centrifugal force. 
Having placed the glass full of 
water on the table, it is only a matter 
of taking it properly with the hand, 
holding it at arm's length, and, with 
the arm thus extended, describing a 
complete circle, after which it may 
be placed upon the table without the 
loss of a single drop. 

To insure the success of the 
experiment, particular attention must 
be paid to the manner in which the 
glass is held. Instead of taking it 
as you would when drinking, hold it with the hand reversed, the palm 
being turned upwards, as shown in Fig. 5. 

Without hesitation throw the arm in the air, and swing it, not too 




Fig. 5. — Centrifugal force experiment. 
First position. 





Fig. 6. — Swinging the glass. 



Fig. 7. — The action completed. 



quickly, but without shaking it, in the direction of the arrows in the 
diagram (Fig. 6). 

After one complete revolution the glass should be as shown by 
Fig. 7; whilst in this position it may be placed on the table. At 



MORE EXPERIMENTS 333 

first it is advisable to practice this experiment with water, but, as more 
skill is acquired, other liquids, such as milk or wine, may be used as 
occasion permits. 



A Novel Mirror 

A simple method of illuminating the back of the mouth and throat, 
especially when throat trouble is suspected, may often be found 
extremely useful. Here is a means of 
supplying, at a moment's notice, an ex- 
temporized illuminant of this kind. 

Take a well-cleaned spoon, and hold 
it against a candle flame, when you form 
an excellent mirror, which will permit you 
to concentrate the rays of light and pro- 
duce at the back of the throat enough 
illumination for the making of a careful 
examination (Fig. 8). 

A silver spoon, moreover, allows you 
to study the curious properties of curved 
mirrors. Holding the hollow part of the 
spoon before your face, notice that the 
head is at the bottom; turn the spoon 
round, and you have the bulging part a 

convex mirror, which will show an image, very long and narrow. 
If you approach this face in the spoon little by litttle, you will see 
the nose attain the most amusing proportions. 




Fig. 8. — The spoon mirror. 



A Disappearing Coin 

If you look at an object which has been placed in water, owing 
to the phenomenon of refraction, the article appears in a different 
position from that in which it really is. 

It is due to this phenomenon, therefore, that a stick, when half 
plunged into water, seems to be bent or broken. 

A very interesting experiment based on this principle is the 
following : — 

Take a bowl full of water, and at the bottom place a coin. Next 
request one of your friends to lower his head until his eye, the edge 
of the bowl, and the near edge of the cent, appear to be in the same 
line. 

As a matter of fact, it is not the coin itself that your friend 
can see, but only the image created by refraction. 



334 HOME FUN 

Now, keeping your friend in the same position, inform him that 

you intend to make the coin 
disappear from his view. 

To do this, remove some 
of the water from the bowl, 
which may be accomplished 
by means of a small syringe 
(Fig. 9). 

Directly you lower the level 

of the water, your friend will 

no longer be able to see the 

image of the coin, which will 

Fig. 9.— The disappearing coin. be hidden by the side of the 

bowl. If, however, the extracted 
water be replaced, the image of the coin immediately reappears. 




Electrified Paper 

Very few people realize that paper can be electrified at a moment's 
notice, no special apparatus for the purpose being required. 

Take a piece of light paper, which should have been well dried, 
and rub it briskly with a clothes brush, silk handkerchief, or even the 
open hand. 

After a little time the paper, becoming electrified, will adhere 
to your face, your hands, or your clothes, as easily as if it were 
attached by means of gum. 

Nor is this property confined to 
thin paper. Thick paper, when dried, 
will act in the same manner. For 
instance, take a postcard, dry it, and 
rub it, and you will notice that, as is 
the case with sealing-wax, glass, sul- 
phur, &c, the card has the power of 
attracting light bodies, such as small 
pieces of cork. 

The following interesting experi- 
ment may be carried out with an 
electrified postcard and a walking- 
stick. 

Balance the walking-stick over the back of a chair, and announce 
that you can make the stick fall without touching it, without blowing 
it, or without interfering with the chair. This is easily possible by 
utilizing the electrified postcard. 




Fig. 



-The electrified postcard. 



MORE EXPERIMENTS 335 

First rub it on the sleeve of your coat. Now hold it near one end 
of the stick, and you will notice that the latter follows it as iron follows 
a magnet (Fig. 10), until the moment when the equilibrium being 
destroyed, the stick falls to the ground. 

Of course the experiment may be varied by using any other 
suitable article in place of the stick, as for instance a fishing- 
rod. 

Electrified Baloons 

From the last experiment it may have been gathered that if a piece 
of paper is dried and rubbed with a silk handkerchief or the dry hand 
it will adhere to the face, arms, or clothing. 

It may not be so widely known, however, that if toy balloons 
be rilled with air, and then stroked for a short time with a piece 
of fur, they will act in the same way 
as the electrified paper. 

It is rather amusing to see these 
balloons, after being treated thus, 
placed against the wall or ceiling, 
where they will stick as if they were 
glued there. 

Having entertained your friends 
in this manner, you may, by way of 
a little change, take two of these 
toy balloons, and, after having elec- Fig. h.— The electrified balloons, 
trifled them, suspend them from the 
same point by means of two silken threads. 

You will be surprised to find that the balloons now repel each other 
in the same manner as pith balls do (Fig. 11). 

Exploding Flour 

Flour will create an explosion ! 

Take a large handful of flour, and leave it for some time near the 
fire, in order that every trace of dampness may be expelled. 

Whilst the flour is drying take a large tin box (a cracker tin will do 
admirably), and near the bottom make a small hole. 

Through this hole pass the end of a piece of india-rubber tubing, 
and place the handful of dry flour in front of it. 

At the other end of the box place a short piece of candle, and after 
lighting it, cover the box with the lid, taking care that it is not too 
firmly fixed. 





Fig. 12. — Exploding flour. 



336 HOME FUN 

If you now blow down the tube with your mouth, or better still, 

with a pair of bellows 
an explosion at once 
takes place, as a re- 
sult of which the lid 
will be blown off (Fig. 

12). 

If flour be not avail- 
able the experiment 
may be performed with 
equal success by using 
fine dust, such as may 
be found on the backs 
of pictures, or collected from any elevated parts of the room. 

The Apparently Impossible 

Have you ever had tea on the top of a mountain? If so, you will 
agree that your cup of tea could by no means be termed excellent. 

Now, why is it that a cup of tea made on a mountain-top is much 
inferior to one made at a lower level? If the fault lay in the tea, the 
defect could be easily remedied, but such is not the case, for it 
depends upon the fact that water on the top of a mountain boils at a 
lower temperature than water at the sea-level. 

In order to make a good cup of tea, the water must boil at a 
temperature very near ioo° C, and it is at this temperature that the 
water is generally boiled in your homes. 

Why is it, then, that water boils at different temperatures at 
different altitudes? It is because, as the altitude is increased, so the 
atmospheric pressure becomes less. 

At sea-level, atmospheric pressure is equal to about 15 lbs. to the 
square inch, but at the top of a mountain it is much less. The 
greater the atmospheric pressure the more heat is required before 
the bubbles of vapor formed within the water can break at the 
surface. 

After this explanation, perhaps the subjoined experiment will be 
attempted with additional interest. 

Take a flask, to which should be fitted a good cork or india-rubber 
stopper, and in it boil some water, taking care of course to remove 
the stopper beforehand. 

After some minutes the steam from the boiling water will have 
expelled all the air from the flask. Now remove the source of heat, 
at the same time quickly inserting the stopper. 




Fig. 13. — A curious boiling experiment. 



MORE EXPERIMENTS 337 

If the flask is allowed to stand for a minute or two, the tempera- 
ture of the water will fall considerably below ioo° C. 
Next inform your friends that, 

without applying any extra heat, you 

will cause the water in the flask to 

boil vigorously again. This seems 

to them impossible, especially when 

you tell them that you are going to 

do it by means of cold water. Quickly 

turn the glass upside down, and 

squeeze a sponge soaked in cold 

water on its upturned under-surface. 

Immediately the liquid inside will 

begin to boil, as if extra heat had 

been applied (Fig. 13). 

But how are you to explain 

this apparently extraordinary pheno- 
menon ? 

Well, directly the cold water 

comes in contact with the flask it 

causes the steam contained therein to condense, and, as no air can 

enter, thanks to the well-fitting cork, the pressure on the surface of 

the warm water is now con- 
siderably less than it was 
before. 

Directly the pressure is 
lessened the vapor bubbles 
contained within the warm 
water are able to rise to the 
surface, and the water is seen 
to boil merrily. 



Making Coal Gas 

Here is a very simple 
way of obtaining coal gas. 

Procure an ordinary long 
clay tobacco pipe, the bowl 
of which should be filled with 
very small pieces of coal. 
Carefully cover the top with soft clay, and put the bowl in the fire, 
with the long stem protruding through the bars. Now watch this end 
of the pipe very closely and see what happens. 




Fl&noe 

Fig. 14. — Simple gas-making. 



338 HOME FUN 

Very soon you will notice a light-colored smoke issuing from 
the mouthpiece, but after a time this smoke disappears. But what 
happens if you hold a lighted match to the mouthpiece of the pipe? 
Immediately a bright yellow flame appears (Fig. 14). 

The gas now burning is the same gas as is burnt in your house, 
although this latter, of course, is much purer. 

If now you take the pipe from the fire, allow it to cool and then 
break it, you will be surprised to find that its contents have changed 
in appearance, for, in place of the coal, you will see what looks like a 
cinder. This is the coke. Thus you have manufactured gas from 
coal, at the same time producing coke. 



Experiments with Carbonic Acid Gas 

In a previous chapter, when describing how to make a miniature 
cannon, it was explained that the " gunpowder " with which the 
" shell " was fired is in reality carbonic acid gas. 

It may not be amiss to show how to generate it, in order that 

you may discover for yourselves some 
of its properties. 

There are several ways of obtaining 
carbonic acid gas, but most of these 
are of a complicated nature. The 
following, however, is an extremely 
simple method. 

Take a 6-oz. or 8-oz. flask, and fit 
it with a cork with a hole, in which 
may be fitted a piece of glass tubing. 

This tubing should be bent twice 
at right angles, as shown in Fig. 15, 
and the longer end should be allowed 
to dip into a large glass. 

Into the flask pour a little lemonade, 
soda water or ginger ale, and after 




Fig. i' 



A carbonic acid gas 
experiment. 

replacing the cork or tube, heat the flask by means of a gas-burner or 
spirit lamp. 

You will notice that bubbles of gas are given off, and, as this gas 
is considerably heavier than air, it will, after being forced up the 
tube, displace the air in the glass, and gradually fill it. To test 
whether the glass is full, hold a match in the top. If the match is 
extinguished, the glass which is full may be removed. In this way 
several glasses can be filled, care being taken to cover each with a 
glass plate or cardboard disc to prevent diffusion. 



. MORE EXPERIMENTS 339 

From this experiment you will have discovered the three main 
properties of this gas (commonly known as carbon dioxide) — that it 
is colorless, is considerably 
heavier than air, and will 
not support combustion. Its 
high density affords another 
interesting experiment, which 
consists of pouring the gas 
from one glass to another 
(Fig. 16). 

Take two glasses, one 
full of air and the other 
containing the carbonic acid 
gas, and into each plunge a 
lighted match. The match 
of course will burn in the 
glass containing air, whilst 
it will be immediately ex- 
tinguished when it comes 
in contact with the carbon 
dioxide. You have thus 
clearly shown which glass 

contains air and which contains the gas. Now take the glass con- 
taining the gas and pour its contents into the other glass, in exactly 
the same way as you would pour in water. Again test with a lighted 
match and you will find that the gas has passed from one glass to 
another, thus proving that it is much heavier than air. 

Next take two glasses, one containing air and the other carbonic 




Fig. 16. — Pouring carbon dioxide from one glass 
to another. 



6 



acid gas, and, by means of a 
clay pipe, blow a soap bubble 
into each, carefully watching the 
different manners in which they 
behave. That dropped into the 
glass containing air will sink to 
the bottom, where, coming in 
contact with the glass, it will 
burst. The other bubble, how- 
ever, as soon as it reaches the 
gas in the glass, rebounds owing 
to the high density of the carbon dioxide, but after a time, when it 
has settled down, it will float motionless on the surface (Fig. 17). 

Before you finish experimenting you should know how to detect 
the presence of carbon dioxide. Take a little lime water, which may 





Fig. 17. — Soap bubbles in A (air), and 
B, carbon dioxide. 



34Q HOME FUN 

be obtained from any druggist, and pour it into a glass containing 
carbon dioxide. Shake the glass, and carefully observe the change 
which takes place. The lime water, which was previously colorless, 
has assumed a certain milkiness, and if allowed to stand the white 
powder causing this milkiness will setttle at the bottom of the glass. 
This powder proves to be calcium carbonate, or chalk, which is always 
formed when lime water comes in contact with carbon dioxide, so that 
you have here a means of detecting the presence of carbon dioxide. 
Breathe into a little lime water and you will learn, from the milky 
appearance it at once assumes, that the air we exhale contains a certain 
quantity of this interesting gas. 



CHAPTER XL 

PHOTO PASTIMES 
Camera Knights' Experiments 

It has been presumed in commencing these notes that most 
would-be experimenters already possess a camera, or will at least 
shortly do so. Thus the greater number of experiments are such 
as would interest a camera fiend more deeply than the ordinary 
reader, although the latter might still derive much enjoyment from 
conducting them so far as the lack of a " dark box " will allow him. 

It will perhaps be as well to spend a paragraph at the outset in 
describing simply and noting a few peculiarities about the common- 



; --;-;-:'- -yy^'-js 



Fig. i. — Rays of light collected by lens and thrown upon surface behind. 



place camera. Photography means drawing by the agency of light. 
Xow light is reflected from an illuminated object in straight lines or 
rays, of which a proportion may be collected by a lens and thrown 
in points upon a surface behind. (See Fig. i, A, illuminated object; 
B, lens; C, surface behind lens; D, rays of light thrown upon 
surface C.) 

The front of a camera contains the lens, and is provided with 
a movable shutter, so that light may be only allowed to enter the 
dark box when a picture is to be taken on one of the sensitive plates 
inside. According to Fig. 2 — which represents a camera in position 

341 



342 



HOME FUN 



to photograph the object A — the light is reflected in rays, which are 
collected in myriads of groups and cast pointed upon the surface 
of the sensitized plate B. Such ray groups — being parallel when 
they leave the object and pointed after passing the lens — are termed 
pencils of light, a most applicable name when they are employed in 
" sketching " a portrait on the photographic plate. 

It will be seen that the action of the lens causes the base of the 
object to be registered upon the top of the plate, and vice versa — i.e. 




Fig. 2. — Camera in position to photograph object A. 



the picture is taken upside down. Another noticeable feature about 
the magazine box camera, which does not, however, apply to the 
focussing camera with bellows, is that it may not be placed nearer than 
a certain distance (usually 10 feet or thereabouts) to the object photo- 
graphed, or else the picture obtained will be blurred. The remembrance 
of this simple fact will save the loss of many plates to the tyro. 

Finally a last note remains to be taken of the " stops." These are 
really various sized holes in a metal screen, any one of which may be 
placed at will before the lens, and by the use of which the sharpness 
or distinctness of the photograph may be improved. Thus a lens at 
full aperture will not give such a sharp picture as would be obtained if 
a small hole were used, but, as the amount of light permitted to pass 
in the latter case is much diminished, a longer exposure must be given. 
Consequently when a short-timed snapshot is being secured, the largest 
practicable aperture or stop should be employed, even though the 
sharpness of the picture be thereby to some extent sacrificed. 

Having thus briefly reviewed the essential features of a camera, 
arrangements may be made for conducting our first experiment. 



© B 



PHOTO PASTIMES 343 



Experiment A. — A Fireside Photo 

Probably no souvenir can give greater pleasure to the amateur 
photographer, or prove more acceptable to his bosom chums, than their 
portrait, as a fireside group, 
lighted by the glow from a 
genial fire. Nor is this diffi- 
cult of attainment. 

First the figures should 
be grouped seated on chairs O U J\. 

— and perhaps some standing q O 
behind, if many faces are to ~ \A. 

be included — in a quarter 

rirrlp from nnp rhimnpv Fia 3-— Relative positions of camera and sitters 
circle trom one cnimney- for a fireside phota 

corner, whilst the camera 

may be securely placed some 9 or 10 feet away, about the position 

shown at X in Fig. 3. 

Next some shade like a small fire-screen must be placed between 
the blaze and the camera, in order to protect the sensitized plate from 
the full glare of the firelight. Now of course the photograph is not 
actually secured by the coal flame illumination, which would not be 
bright enough to give proper exposure, so recourse is had to dropping 
some material into the fire which will burn rapidly with a bright white 
flame. Magnesium powder is generally used for this purpose. 

Supposing the group to have been arranged and the camera firmly 
in position, the person (B, in Fig. 3) seated next the grate should hold 
a tablespoonful of saltpeter and also 1 a square inch or so of sheet zinc. 
Then, all being so far ready, let the outside member of the group 
(marked A in Fig. 3) open the camera shutter and slip back to his 
seat, whilst the flashlight operator drops the saltpeter and zinc suc- 
cessively among the glowing coals. The flame of dazzling brilliancy 
which results records the sitters' figures on the plate, so that directly 
it is over, the person (A) may again visit the camera and close the 
shutter. His movements will not be noticeable, since they are made 
before and after the flashlight. 

The operation of development may be proceeded with at once and 
should go fairly easily, but flashlight exposures are difficult to estimate 
accurately, and therefore, although a square inch of zinc has sufficed 
for a small group with stop and an extra rapid plate, this amount may 
have to be increased if the group be large or if other conditions be 
changed. 



344 HOME FUN 

One last hint as to behavior of the sitters. Let them sit as 
naturally and quietly as possible, but be advised to blink their eyes 
as much as the bright light prompts them rather than keep them staring 
wide open, when their faces must wear a most inane expression in 
the finished photo. 



Experiments B. — " Photo-Chemical " 



Salts of silver form the basis of most modern photographic pro- 
cesses. Thus in order to perform chemical experiments of a photo- 
graphic nature, some solution of silver must be available, the nitrate 
salt being usually employed. 

It is best procured at the druggist's in solution or as crystals, in 
which latter case it must be dissolved for use in clean rain or distilled 
water. The solution need be only weak, but must be kept in a dark 
bottle screened from daylight. Chemical test-tubes, if they can be 
obtained, will be found best for the experiments. 

( i ) Prepare a weak solution of table salt, and add it drop by 
drop to a little of the silver nitrate in a test tube (or wine-glass as 
a makeshift). A white sediment is precipitated, which, by shading 
part of the tube with a band of paper and exposing to daylight, 
may be shown to be sensitive to light, inasmuch as the unscreened 
part will rapidly turn purple. This precipitate consists of silver 
chloride, which, in combination with unaltered nitrate, 
forms the essential ingredient of printing paper. In 
Fig. 4, A is Solution; B, Precipitate; C, Band of 
Paper. 

(2) Photographic plates are coated with bromide 

of silver, a yellow substance, which may be prepared 

similarly to the previous precipitate by adding potassium 

bromide solution (instead of table salt) to the nitrate 

of silver. Its appearance does not change rapidly 

under the influence of light, but if first exposed and 

then treated with a developing solution the yellow 

color very soon changes to black — finely divided 

Fig. 4— Silver metallic silver being, in fact, produced. Actually, light 

precipitate, niore readily alters the constitution of the bromide 

than that of the white chloride, but the former knows 

better how to preserve an outward appearance of composure. 

(3) Suppose, now, another solution be made, this time of the 
fixing salt known familiarly to every camera knight as " Hypo." 
When this is added to either the white chloride or yellow bromide 




PHOTO PASTIMES 345 

precipitates above noticed, they gradually dissolve away, except such 
portions as have changed color under the influence of light. 

Such action constitutes the process of fixing a photograph, where- 
by the sensitive silver compound is removed from those parts of the 
paper or plate which have more or less escaped the influence of 
light. 

(4) This experiment is an aquatic performance in which one actor 
only — our old acquaintance Hypo — takes part. Provided proper care 
be taken in the preparatory stages, it will afford at the climax as 
excellent a spectacle as many another more complex. 

A tumbler glass full of saturated solution has first to be prepared, 
and this is best done by tying about y 2 lb. of Hypo in a piece of 





Fig. 5. — Preparing saturated 
solution. 



Fig. 6. — Grooved cork for 
" dripping " solutions. 



muslin, so that it may be held against the rim of the glass and 
allowed to hang in hot w^ater after the manner of Fig. 5. When 
an appreciable quantity of the salt has dissolved, the liquid being 
but lukewarm, the muslin bag may be removed and the solu- 
tion stirred gently. Then it must be stood somewhere firm, and 
allowed to remain absolutely undisturbed until cold. There should 
then be a glass full of clear liquid, and the phenomenon is at 
hand. 

Let the smallest crystal of solid Hypo be dropped in this liquid, 
or let it but be disturbed, and behold ! a wonderful transforma- 
tion proceeds, until the glass interior becomes a shimmering mass 
of sparkling crystals. The reason of this curious behavior is not 
far to seek. Hypo, in common with most chemicals, dissolves to a 
greater extent in hot water than in cold, but is different, inasmuch 
as the excess of salt does not settle out as the solution becomes cold. 



346 HOME FUN 

Cold solution is therefore really over-saturated, and to such an extent 
that only an extra crystal or the least disturbance is sufficient to 
upset the delicate balance, upon which climax the great excess of 
Hypo soon settles out. 

(5) This is another reaction in which Hypo takes part, but one 
other substance is required as well, viz. permanganate of potash. 
Condy's fluid is equally suitable, and in either case the solution need 
only be weak — just a transparent deep pink color. The vessel 
containing this permanganate may be about half full. When Hypo 
solution is gradually dripped into this and the mixture stirred, 
the color is immediately dispelled, leaving the liquid clear as 
water. 

Inasmuch as every photographer knows the necessity for washing 
his prints until all fixing salt is removed, this decoloring action may 
be fully employed in testing the washing water occasionally. When 
it no longer affects the tint of a pink permanganate solution he may 
rest assured that the deleterious Hypo — like some friends in being 
welcome so they stop not too long — has really departed. For the 
ready performance of this experiment it may be noted than any solu- 
tion can most easily be " dropped in drips " from a bottle whose 
cork is cut grooved at both sides (Fig. 6). 



Experiment C. — Blue Print Paper 

Engineers' drawings have for many years past been copied upon 
ferro-prussiate, or " blue print " paper. The original design being 
made in opaque ink upon tracing linen, a sheet of the sensitive paper 
is held against this in strong daylight until blue coloration has 
advanced everywhere except beneath the ink lines of the drawing. 
These remain yellow, or rather white, when finished, as the excess 
of sensitive salt is removed by washing. 

Since this last operation is in itself all-sufficient to insure per- 
manency, the simplicity is unique. In fact, the impossibilty of 
securing other colors than blue has been the only factor to exclude 
this process from far wider use. 

The preparation of the sensitive surface presents no great diffi- 
culties, provided a drawing-paper of good quality be used. It should 
be cut into strips about 6 inches wide, which are passed one by one 
up and down (see Fig. 7) through a dish containing the following 
solution : 1 oz. ferri-cyanide of potash + 4 oz. water, added to 1 oz. 
ammonio-citrate of iron + 4 oz. water. (Note — 4 oz. water = nearly 
J4 pint.) This must be done in very dull light — candle or paraffin 



PHOTO PASTIMES 



347 



oil by preference — and the wet paper pinned up to dry in a dark 

cupboard, hanging from the 
edge of a shelf or other pro- 
jecting support. Then it may 
be cut into pieces of the re- 
quired size and stored with a 
wrapping of tissue and brown 
paper in a handy box. 

All manner of designs may 
be produced on this paper, 
such for example as fern leaves, 
lace, and embroidery. Actual 
sea-view photos or imitation 
moonlight views also look very 
well indeed. Another notion 
is to secure the copy of some 
picture printed in black on 
thin paper, which has been 
oiled and dried in order to 
render it translucent for quicker 
Fig. 7 .-Sensitizing blue-print paper. printing . The fina l waS hingS 

should be thorough, and then the blue print will last its maker as 
long as the latter cares to keep it. 

Experiment D. — To Show the Constituents of White Light 





Few physicists to-day doubt that light consists of waves set up 
in an all-pervading medium called ether; that, moreover, white light 
is composed of different tinted rays — to be seen reflected from the 
bevel edge of a looking-glass, or indeed from the more natural 
rainbow — which further are caused by the different lengths of waves 
whereby the colored lights are propagated. 

Now we may produce these phenomena for ourselves by cutting 
a slit iy 2 inches long in a temporary window-shutter, or, more con- 
veniently, in the end of a large wooden box (A, Fig. 8). Near this 
a glass prism, such as once adorned gas-pendants so profusely, must 
be supported (B, Fig. 8) on a block of wood, and at the opposite end 
of the box a sheet of paper pinned to the inside (C, Fig. 8). The 
arrangement is shown in the diagram. 

Now notice, if you regard this screen from the open top — a large 
cloth covering head and box in order to keep out superfluous light — 
a band of color is depicted thereon, gradating gently like a rainbow 
from violet through blue and yellow to red. Thus the white light 



348 HOME FUN 

which entered through the slit has been separated into its component 
parts. So far, gorgeous enough! But for the photographer much 
greater interest is at hand, will he proceed as follows. Place the box 
so that bright sunshine enters through the ' slit, and after fastening a 
piece of blue print paper instead of the white on the box interior, 
allow this to print, at the same time excluding extraneous light by a 
dark cloth overspread. When this piece of paper has been washed 
and fixed, the colored band should have registered itself in various 
shades of blue, from which it will be noticeable that the purple and 
blue lights have darkened the paper most, whilst red and yellow 



ORANGE 

Yellow 

CjREEN 

BLUE 

//VD/GO 
VIOLET 



Fig. 8. — The refraction of white light into its constituent colors. 




hardly affect it at all. If ordinary printing paper, or still better, a 
photographic plate (in which latter case a considerably shorter expo- 
sure will suffice, and outside light must be rigorously excluded) be 
used, instead of the blue print paper, the result is still more striking. 

From this experiment further is to be gathered the reason for 
developing plates by red light, which evidently does not affect the 
sensitive surface in any appreciable degree. But, on the other hand, 
special orthochromatic plates are made which, by dyeing, have been 
rendered sensitive to the yellow rays as well as to the blue, and if one 
of these be employed to " take " the colored band, technically called 
"spectrum," a totally different gradation is obtained compared with 
that on an ordinary plate or on "blue print" paper. 

Then again, suppose instead of sunlight, ordinary lamplight or 
incandescent gas be used as an illuminant, the gradation varies, whilst 
still another modification is to photograph the spectrum of a methy- 
lated spirit-flame in which common salt is being burnt. In this case 
the light is so yellow that an orthochromatic plate must be used. 
Another illuminant worth testing is magnesium ribbon, which also 
may be ignited in the spirit-flame. 

Before saying a final adieu to these spectrum results, one last item 



PHOTO PASTIMES 349 

remains for remark — last but not least. We say that the series of 
visible colors extended from violet through blue and yellow to red, 
and that darkness obtained at each end. Well ! Mount a plate or 
piece of printing paper inside the box, so that half of it is well in the 
darkness beyond the bluish-violet bands, and expose long enough to 
secure a slight opacity in these parts (i.e. where the blue bands fell) 
when the plate is developed and fixed. The half of the plate which 
was in darkness and therefore apparently received no exposure, never- 
theless develops darker than the remainder, seeming to indicate that 
some light, although invisible to the human eye, had affected the 
sensitive silver compounds in the plate. This is actually the case. 
The rays of light which exert this wonderful influence are called 
" ultra-violet," meaning beyond the violet, and their existence explains, 
amongst other matters, why photography of the heavens has revealed 
the presence of many thousands more stars than can ever be seen 
by man. Such stars emit only " ultra violet " light. 

Experiment E. — One Person in Two Places — and Spiritualism 

Pictures of a man decapitating himself, or of the reader's sister 
turning the skipping-rope for another girl, who is herself, may justly 
be called mystifying. Not only may they almost deceive the operator 
himself, but will quite nonplus the uninitiated, to whom proofs may 
thus be presented of the most impossible happenings. Two methods 
are applicable to the production of such freak portraits, viz : — 

(1) To photograph the entire picture in two separate halves on 
the plate, moving the sitter from one position to another for each 
exposure. 

(2) To employ a background as dark and dim as practicable, 
whilst well-lighting the sitter and furniture, and giving a separate 
exposure for each position of the model. The latter procedure is by 
far the simpler, and provided reasonably correct exposures are given, 
success should not be very elusive. 

To take for a concrete example the portrait of a boy playing 
checkers with himself. Hang up a curtain of black or deep-red 
material in some dark recess of a room, and a few feet before it stand 
a small bamboo table with checker-board, &c, complete, at which the 
person to be photographed may be posed sitting. As mentioned 
above, all available light must be concentrated on the group, whilst 
if the model be wearing light clothes, the effect will be enhanced 
accordingly. 

As to the camera, this may with greatest advantage be' of the 
focussing type, or at any rate a box instrument fitted with magnifiers, 



350 HOME FUN 

so that by being placed near to the sitter the latter may be rendered 
large and sharp in the portrait whilst the background remains in- 
distinct. This should be of such a size that its somber image well 
covers the whole plate. A suggested arrangement for the tableau is 
sketched in Fig. 9. 

The first exposure may be made with the person seated at 1 — the 
left-hand side of the table — he either resting one finger on a checker 

as if about to make his 
move, or adopting such 
other pose as his acting 
capabilities may suggest. 
Primarily the time 
of exposure should be 
just sufficient for the 
light-clothed sitter, and 
therefore not enough 
for the table and back- 
ground, which receive a 
second exposure. This 
should be made when 
the model has taken his 
chair to the opposite 
side of the table, and 
again assumed a position 
natural to the player, who anxiously watches his opponent's play. 

All possible care must, of course, be taken to keep the table 
undisturbed during the model's movements, and also to insure that no 
lighter object than the sitter himself has a place in either exposure 
just where he appears in the other. For example, a pile of books 
must not be photographed during the first exposure just behind or 
in front of the position which the model is to occupy during the 
second exposure; otherwise the vision of books through the person's 
transparent chest, or a similar incongruous phenomenon, will result. 

Spirit Photography 




Fig. 9. — One person in two places. 



A. Table. 

B. Black or red curtain as 

background. 
1 and 2. Positions of sitter in first and second exposures. 



C Fireplace. 

D. White sheet as reflector. 

E. Camera. 



Spirit or ghost photography is but a modification of these 
methods. The chief element of success is to ignore the caution of 
the preceding paragraph, and render the ghost figure as transparent as 
possible. The first exposure should be an adequate one of the human 
model, who has twisted himself into an attitude of groveling terror 
compatible with the fright from which he is supposed to be suffering, 
whilst the background behind him must be dark and indistinct, if he 



PHOTO PASTIMES 351 

is next to impersonate the spook. The latter's surroundings, on the 
contrary, may be as detailed and well-lighted as convenient, because 
the white-robed figure is to appear transparent. 

A sheet will be fit apparel for the " spirit," and must be large 
enough to drape entirely the gliding form with outspread arms. 

The second exposure must be abnormally short, so as just to obtain 
a faint impression of the sheet and its folds. Finally, if the terror- 
stricken person can maintain his attitude of fear during the first 
exposure, and also for the photograph of the ghost, whose role may be 
taken by some one else beneath a sheet, there is no necessity to have 
any part of the background unusually dark. Still, darkness is said to 
favor spooks, so the background is perhaps entirely a matter of choice. 

With such dash toward the borders of the spiritual realm, this series 
of photo experiments must conclude. The most ardent camera fiend 
can scarcely denounce them as embracing too narrow a field when he 
considers that ghosts as well as mundane matters — psychical and 
physical alike — have been approached. Even if his finger-tips do 
not resemble ebony with silver nitrate, he may still rightly term his 
hobby the " Black Art." And his friends ! Well, if present at the 
researches, may their remarks be unheard. Doubtless they will ponder 
deeply, and conclude that the camera does sometimes lie. 

Sun pictures of the earliest types had been no long time in 
existence before a rumor spread that photography could not lie. 
Critics and admirers of the new process rightly enough concluded 
that a knight of the camera must be constrained to narrow interpreta- 
tions by his instruments as no artist is by his brushes. But this con- 
clusion, held widely now as then, is only in part correct. The 
camera records the relative position of objects absolutely, but may on 
the other hand ruthlessly destroy all sense of perspective, or render 
globular images of rectilinear buildings. Nor are these the only 
peculiarities which, in themselves disadvantageous, may frequently 
be turned to account by the photographer. 

Sensitive plates are seldom correctly exposed. They either suffer 
under- or over-exposure, and when there is a gross error the resulting 
picture either lacks detail and is blotchy, or else presents the light 
gradation of a London fog. But, as a set-off to these failings, it might 
be noted that moonlight pictures are obtainable by excessively short 
daylight exposures, which give only the outline of the objects, and a 
contrast between light and shade appropriate to night scenes, whilst 
photographs of flowers, portraits, and cloud studies may mostly receive 
full exposure with advantage, the softness of lighting engendered 
lending additional charm to such subjects. 



352 



HOME FUN 



dVMm 



\|/v^ 




Landscapes commonly reveal over-exposure of the sky or inade- 
quate exposure of the ground and objects, because the amounts of 
light emitted by these respective portions differ so much. To obviate 

this difficulty an early 
A photograph worker 
-^ devised, and indeed 
used, the arrange- 
ment of a circular 
aperture before the 
lens, slanting so that 
it might not admit 
such large parallels 
"of light from the sky 

^ C1 .. , n . .,, , f . as from the ground 

Fig. 10. — Slanting screen (C) with circular aperture to equalize . _, ° 

exposures of sky (A) and foreground (B) in landscapes, portion. 1 he device 

is more easily under- 
stood from the accompanying sketch (Fig. io). 

The portrait hunter should rejoice to realize that, by judicious 
procedure, persons of the coarsest complexion may be nattered in 
their likenesses. Not the least valuable dodge is to render freckles 
and red blotches invisible by the use of orthochromatic plates, and, 
if necessary, a yellow screen, which 
articles prevent the pink skin from 
securing any advantage over the in- 
sular blotches in point of actinic light 
value. 

A supplementary method of secur- 
ing pleasant portrait effects is to mount 
a disc of cardboard (A, Fig. 1 1 ) , round 
whose edge holes of various sizes from 
34 to ^-inch diameter and about 
y 2 -'mch apart are cut (B, Fig. n), in 
front of the camera on a spindle (C, 
Fig. n) as shown. Any one of the 
holes should be adjustable exactly in 

front of the lens, and the mode of usage is to spin the card disc rapidly 
whilst the exposure is being given. This should, of course, be propor- 
tionately longer than usual. 




Fig. ii. — A method of securing 
" modeling " in portraiture. 



Novel Results 

Excellent imitations of crayon pictures are to be produced by 
taking the required photograph through a negative screen, which has 
been made by copying to equal size or slight reduction, a piece of 



PHOTO PASTIMES 353 

rough drawing-paper rubbed evenly with charcoal. It is employable 
in two ways, either by keeping it in contact with the sensitive plate 
in the dark slide whilst the photograph is being taken — a slightly longer 
exposure being given — or else holding it in the frame on the opposite 
side of the negative to the sensitive paper during printing, which is 
conducted in the sunshine. 

By systems of double or triple printing, all manner of novel 
results are obtainable. The only difficulty presented in this work is 
that of correct registration, but if printing paper — the most usual 
medium — be employed, this should not be insurmountable even at the 
first trial. As a first instance of these compositions, suppose out of 
black paper 4 inches by 6 inches, a piece be removed the shape of the 
negative portion required, and this mask be used to print through on 
to a sensitized postcard. The black shape removed should have been 
gummed on to tissue paper and this used, after the picture portion has 
been secured, to print a border — showing the grain of the translucent 
paper — around the photograph. 

For a second, and last, example of triple printing, proceed by first 
preparing the negative of a picture frame, in which, however, an ordi- 
nary plain canvas surface has superseded the work of art. The idea 
is then, by multiple printing, to introduce a camera view into this frame 
image, and so make the result resemble the copy of another painting. 

Cut a black paper mask with an aperture the exact size of the 
canvas image in the frame negative, and through this mask print the 
photograph required a shade lighter than usual. Then substitute 
the frame negative, and, with the same mask in place, secure a slight 
record of the inner canvas image over the photograph already printed. 
This gives the requisite oil painting effect. Lastly the piece of black 
paper, originally removed to form the mask, is fixed over the canvas 
image of the frame negative and the sensitive paper replaced in 
position, so that registration and printing of the frame periphery is 
secured. Then toning and fixing ensue, and the " fraud " is complete. 



CHAPTER XLI 

HOW TO MAKE AND WORK MARIONETTES 



Constructing the Stage 

Marionettes, though claiming no rivalry to the time-honored institu- 
tion of Punch and Judy, have a great charm of their own, and, with 
no traditional story of Punch, Judy, and Dog Toby, are at liberty 
to perform whatever play their manager may desire. 

Although it is possible, of course, to purchase ready-made Marion- 
ette theaters and puppets, the purpose of this chapter is to describe 

a method by which the whole apparatus 
can be constructed at home at the cost 
of very little money and time. 

Naturally, the first thing to be made 
is the stage. This must depend very 
much upon the Marionettes you intend 
to work. As a convenient size, suppose 
you decide upon figures 8 inches in 
height. This means that the frontage of 
the stage must be about 28 inches wide 
by 16 inches high, whilst it will run back 
to a depth of some 14 inches. 

Make a base of plain wood, 42 inches 
by 22 inches. If more convenient this 
can be made in two pieces, each 21 inches 
by 22 inches. These fit together flush 
and are held by a couple of hooks and 
nails fastening beneath. Glue a block of 
H-'C wood at each corner to form a support, 
as shown in Fig. 1, which depicts the 
under side of the base. A, B are the 
two hooks and nails; C, C, C, C are the above-mentioned blocks. 
At a distance of 2 inches from what will be the front, and 2^/2 
inches from either end, cut a mortice in each piece of the base 
(D, D in the figure), through which the tenons of the stage front 
will project. They must, therefore, be made to suit the thickness of the 
wood employed. At a distance of 5 inches from the back make 

354 




Fig. 1. — Plan of Marionette stage 




uu 



-Construction of front of stage. 



HOW TO MAKE AND WORK MARIONETTES 355 

four mortices, a couple in each part of the base as E, E, E, E in 

the figure. These will serve to hold the rear of the stage. 

The front of the stage is now constructed as indicated by Fig. 2. 

Two pieces must be made exactly similar to one another, each to 

form one-half of the front. The 

tenon, D, should be long enough 

to pass through the mortice made 

for it in the base, and project from 

the other side sufficiently to allow 

of a peg being pushed through a 

hole bored in it. This peg will 

serve to maintain the upright front 

in place. Furthermore, two hooks 

must be placed upon one of the 

halves, to fasten to corresponding 

nails in the other half, thus hold- 
ing the pieces of the stage front 1,1 

firmly together. D 

The back of the stage consists of Fig. 2, 

two pieces of wood each 18 inches by 

18 inches, having tenons to fit into the mortices below the pegs, and 

fastened together by hooks and nails. Before proceeding further with 

the work, bore two 
holes, of sufficient size 
to hold a piece of stout 
copper wire firmly in 
each piece of the base 
(P, P, P, P, Fig. 1). 
The use of these will be 
explained shortly. 

The actual fabric of 
the stage is now com- 
plete. Bear in mind no 
string or wire should 
extend from the front 
to the back of the stage, 
for the simple reason 
that these spaces must 
be left perfectly clear to 
allow of the exit and en- 
trance of the puppets. 
Next fix the drapery in the form of curtains to each side of the 

stage front. These must be chosen according to your own taste, and 




Fig 3. — Stage front completed. 



356 HOME FUN 

should harmonize with the exterior decoration of the theater. The 
curtains should be gathered up and tacked to the stage front from the 
inside, as in Fig. 3, from which an idea of the general adornment of 
the whole theater can be gleaned. 



A Movable Curtain 

The following plan will be found very suitable for the arrange- 
ment of the movable curtain. Take a piece of strong copper wire 
^ and bend it, as shown 
pf C50" ^ i n Fig. 4. The length 
> Q k 5) of the unbent portion 
£0| [O T) should be about 30 



A B 

Fig. 4. — Wire rod for movable curtain. 



inches. Fit the two 
ends, A and B, into 
holes bored in the stage 
front, inside and above the opening. The wire rod will thus run the 
whole length of the actual stage, whilst the ends A and B suffice 
to clear the fixed curtains already tacked up. Hang the movable 
curtains by a number of little rings upon this rod. When drawn, the 
two curtains, which should be of some stout material, will completely 
cover the stage. 

The method of drawing the curtains is arranged thus : A string 
(L, Fig. 5) is passed through the loop C in the rod, through all the 




Fig. 5. — Arrangement for drawing curtains 



rings from G4 to G, where it is fastened, and then passed on 
through H and all those rings up to the loop D. The string L 
then returns through the H rings 4 to 1 to H itself, where it is 
fastened and ends. By pulling the string L when the curtain is 
drawn, the ring H is therefore drawn towards D and the ring G 
towards C, thus opening the curtains simultaneously by means of only 



one string. 



Supposing the curtains to be now pulled right back, thread another 
string, M, through the loop E, pass it through all the G rings and 
across to H, where it must be fixed. Then pass this string through 
all the H rings, through the loop F, and back by way of H to the ring 



HOW TO MAKE AND WORK MARIONETTES 357 

G, where it must be tied and end. It will now be found that by- 
pulling the string M, the rings G and H are drawn together. To avoid 
any confusion, a distinctive mark p 
should be placed upon the ends L 
and M of each string. 

You must next bend a couple of 
pieces of strong copper wire into the 
shape depicted in Fig. 6. The sides 
A B and C D should measure 20 
inches, whilst B C must be of such 
a length that the ends A and D can 

fit into the holes P P already bored ^ _ . _ , *-* 

, _, . r • Fig. 6. — Frame for wings, 

in the base. These pieces of wire 

serve to support the wings, trees, or other stage arrangements as 

occasion requires. 

The stage is now complete, and will take to pieces and pack up 

flat with no trouble or inconvenience of any kind. 

Interior Decoration 

The next questions that arise concern scenery. This depends 
entirely upon the play to be performed. The floor of the stage must 
be covered with suitable paper, or better still with a carpet. In the 
arrangement of the wings and the scenery connected therewith, do 
not forget that the spaces on each side must be left clear. Marionettes 
cannot enter by doors, and a descent from the ceiling is not only 
undignified but impracticable. The side scenery must therefore be 
as simple as possible.. 

Unless your performance is to be upon a very extensive scale, the 
actual amount of scenery required is not great. An interior can easily 
be painted. Pieces representing the walls of the room can be hung 
upon what may be called the wing wires, whilst the rest of the interior 
can be painted upon the stage back. 

In all probability a rural scene will also be required. A stage 
tree or two (Fig. 7) should be fastened to the wing wires, and the 
background of sky and landscape need present no difficulty to a handy 
amateur. Street scenes can be arranged by hanging the ends and 
fronts of houses from the wing wires, whilst the background may 
either depict the street fading into the distance, or have another 
house at the corner, after the fashion of stageland. A great variety 
of scenery may be made with the help of an artistic friend; and 
when at the theater, inspect the effects closely. By doing this many 
invaluable hints as to setting and scenic inventions can be acquired. 




358 HOME FUN 

But what is a theater without the actors? Who are to perform 

upon the boards you have so carefully 
constructed ? 

It has already been mentioned 
that the Marionettes are to be about 
8 inches high. This will be found 
a convenient size for the beginner, 
since very small figures are apt to 
be troublesome, and large ones are 
sure to prove unwieldly. It is im- 
portant to have the Marionettes so 
articulated that they will readily 
answer every motion of the opera- 
tor's strings, and be neither too stiff 
nor too limp. 

Home-made Figures 
Fig. 7 —A stage tree. 

The following hints will show how 

the figures are to be made at home at slight cost. 
Get an ordinary Dutch doll (similar to that shown 
in Fig. 8) of the proper size and neatly made. 
Notice that the hip- joints allow the legs to move 
upwards freely, a convenience that the ordinary 
doll lacks. The knee-joints are after the same 
pattern, and allow the lower part of the leg to 
double up for sitting and kneeling. These joints 
should be made to work easily and evenly. 

The arms should be attached to the body by 

what is known as a universal joint 

(seen in Fig. 9). Make the surface 

A B (Fig. 10) perfectly even, and 

then scoop a slight hollow in the 

wood. In this hollow drive a staple 

almost up to the head, leaving only 

enough room to insert a piece of 

string in the loon, whilst the head 

of the staple is level with the surf ace FlGf *~$g£^ for 

A B. Round off the end of the arm 
(Fig. 11), and pierce a hole about half-an-inch from the end. Thread 
a piece of string through the staple and through the hole in the arm, 
tying the ends together fairly tightly, so that the arm is perfectly 
free at the joint but does not hang loosely. 





Fig. 9. — Universal 
arm-joint. 





Fig. io. — Socket 
for arm. 



HOW TO MAKE AND WORK MARIONETTES 359 

For the head, either touch up the original Peggy's head to make 
it respectable, or remove it altogether, replacing it by that of a china 
doll. In the former case, a flaxen wig must be glued over the black 
painted hair, and a human complexion given to the 
crimson cheeks. Undoubtedly a better effect is produced 
by exchanging heads with a china sister. 

The dressing of the Marionettes need be 
a matter of no difficulty. The costumes must 
depend entirely upon the nature of the play, 
although certain stock characters may be 
made once and for all, and kept in readiness. 
A sailor, a soldier in resplendent uniform, 
a policeman, and an ordinary man or two 
can be kept prepared; whilst for the fair Rounded end 
sex, an old lady, a young one, a maid-servant, of arm. 
and a little girl are likely to be of service. The remainder of 
your cast must be regulated by circumstances. The clothing may be 
fastened to the above-mentioned charac- 
ters; but in special cases the costumes 
should be made to take off as occasion may 
require. 

Having prepared the figures, they must 
now be made to act and move in a rational 
manner. 

Five black threads are attached to each 
figure and ascend to the flies, where they 
are manipulated by the performer. A 
glance at Fig. 12 shows how and where 
these threads are to be attached. Fix A 
and B to the right and left hand respec- 
tively, C and D to the knees, whilst E 
must fasten to the back, where it serves 
to support the figure. These threads 
should be very fine, for the whole success 
of your undertaking depends upon their 
concealment. 



Working the Puppets 




Fig. 12. — Showing how and where 
threads should be attached. 



There are two methods of holding 
the threads and working the puppets, the first of which is also 
shown in Fig. 12. The arm threads, A and B, are attached to 
the end of a stick, F; the leg threads are similarly attached to 




360 HOME FUN 

another stick, G, to the center of which the body thread, E, is 
fastened. 

The sticks are then held, one in each hand, or both in the same. 
Although more convenient for manipulation, this method possesses 
the disadvantage of limiting each operator to the 
management of one puppet, and where there are 
several characters upon the stage, much confusion 
may result. If the two sticks be held in one hand 
free play, so far as pulling the strings is concerned, 
is allowed to the fingers, and there should be no 
difficulty in working two Marionettes at the same 
time, one with each hand. 

An easier method of manipulating the figures is 
shown in Fig. 13. The thread attachments are the' 
same, but instead of being fastened to sticks, each 
string terminates in a brass ring placed upon the 
finger. The threads should be of such a length that, 
when the hand is held as in Fig. 13, the body of the 
puppet will be upright, the legs stretched, and the 
arms dropped by the sides. 

Place the rings upon the fingers in the following 

order : The body string, E, to the third finger; the 

leg strings, C and D, to the thumb and little finger; 

and the arm threads to the first and second fingers, as shown in 

Fig. 13. 

With very little practice the figures can be made to walk, the 
progressive motion of the legs being manipulated by alternately moving 
the thumb and little finger. A similar movement of the first and 
second fingers will put the arms into action. 

When sitting upon a chair, the lower parts of the legs bend by 
their own weight, and you will need only to pull the body string to 
make the figure rise quite naturally. 

The theater, scenery and actors being ready, it remains to decide 
what they shall play. 

Your programme must necessarily be chosen according to the 
audience. Presuming there is somebody to assist you in working 
the figures, thereby making it possible to have three or four char- 
acters upon the stage at once, the variety of plays is very great, 
and the choice of one or two short pieces should be easy. Several 
publishers issue large assortments of Marionette plays, and catalogues 
can be obtained giving full particulars as to the number of characters 
required, scenery necessary, and so forth. 

The Marionette stage is not adapted to heavy drama. Tragedies 



Fig. 13. — Finger 

loops for manipu 

lating puppet. 



HOW TO MAKE AND WORK MARIONETTES 361 

would be ridiculous on the " two foot boards." The roles, therefore, 
assumed by each character should be amusing and topical, containing 
allusions likely to be understood by the spectators, and interspersed 
with such local " gags " as opportunity may suggest. 

The two operators should divide their labors, as far as possible, 
in such a way that the lady does the female characters, whilst 
her partner works the men. The reason for this division is clear, 
for it will come more natural for a lady to caricature the female 
voice, whilst her accomplice will be better suited to the stern accents 
of the menacing policeman, or the passionate entreaties of the ardent 
lover. 

Working 

Practice the parts carefully and thoroughly. Be ready with some 
joke or patter to cover any mishap that may occur. Accidents are 
unfortunate, but in Marionette-land quite probable, so if Aladdin's 
left arm fails to work at the critical moment, there is nothing to do 
but make the audience think it all part of the fun. 

Supposing the evening for your entertainment to have arrived, 
and that all is in readiness, place the theater upon a table at such a 
height that the spectators will get a clear view of the stage, but will 
not be able to see the flies. The table should be against a wall, and 
arranged in such a manner that you and your partner have sufficient 
room to move behind it. In the space between the table and wall a 
couple of boards must be placed on trestles, so that the operators may 
stand above the stage. 

A curtain must hang from the ceiling to meet the top of the 
theater. On no account should the audience be able to watch the 
heads of the manipulators moving the puppets. There are few better 
plans than to have the stage arranged in the embrasure of a window, 
for the curtain can then be easily contrived, whilst the " show •' 
does not take any of the space required for the spectators. But 
this, of course, must depend upon the nature of the room at your 
disposal. 

The guests having been marshaled into their places, the entertain- 
ment should open with an overture. If there be intervals in the course 
of the play, the pianist will find fresh employment, whilst at times a 
running accompaniment is very suitable. 

Start with a one act farce, to be followed by a fairy tale or panto- 
mime. Conclude with another short farce, into which may be 
introduced all kinds of whimsicalities, jokes, local patter, and topical 
allusions. 



362 HOME FUN 

The puppets will do exactly as you direct them. Make them work 
their best; let the show be worth seeing and hearing, for the possibilities 
of the Marionette stage are very great, and with ordinary care a most 
enjoyable entertainment can be produced. 



CHAPTER XLII 

LIVING MARIONETTES 



A Good " One Man " Show 

A living Marionette entertainment is well adapted for a " One Man 

Show/' and sure to prove a success. The very appearance of the 

weird creature, half human and half doll, makes the spectators laugh, 

and this laugh will scarcely subside until 

the curtain has been finally rung down 

on the entertainment. 

The mysterious combination shown 

in Fig. i needs but little explanation, 

since it is very 
clear that the 
head is human 
whilst the body 
is wooden. This 
makes so com- 
ical a figure that 
anything but 
pure humor 
would seem sin- 
gularly out of 
place issuing 
from those lips ; 
it must, there- 

1 fore, be clearly understood that the living 
Marionette is comic from beginning to 
! end. 

The stage must be about 3 feet wide, and 
of the same height, thus allowing room for 
the head and false body. The stage front 

FlG ' 2 M~ F - r ° nt view ° f Hving ma y ^e mac * e m tne same manner adopted 

for the Marionettes proper, though so much 
space will not be required at the top, as can be seen from Fig. 2. 
The stage itself should be about 12 inches deep, and arranged at such 

363 





The dummy body with the 
human head. 




"C 



t 
—■I 




364 HOME FUN 

a height that when standing behind, your chin will be about 1 1 inches 
above the stage. The whole construction will then be somewhat like 

the box and stage of an old-fashioned Punch 

and Judy Show. 

A strip of perfectly black cloth is next 

stretched from side to 1 side along the inner 

edge of the stage, i.e. the part farthest removed 

from the audience. This cloth should be 11 

inches wide, and when 

in place will occupy 

the position shown in 

Fig. 3. Between this 
Fig. 3.— Black cloth arrange- ec j Re f t h e stage and 
merit to conceal top of per- , . . , . , 

former's body. the actual back of the 

box should be a space 
of 15 inches. The actual back must also be 
covered with black cloth. The sectional appear- 
ance of the stage will therefore be as in Fig. 4. 
An arrangement of curtains, as described in 
connection with the Marionette stage, must be 

fitted with the 
strings below 
the stage, i n 
order that you 
may pull them 
unseen by the 
audience. 

The wooden 
bodies should be 
10 inches high, 
and headless. A 
collar must be 

sewn to the costume where the neck 
should be, in order to conceal the spot 
where the living head is thrust over the 
false body. 

The most satisfactory way of work- 
ing the limbs of the puppet is as follows : 
Above the stage, in the flies, a rod, upon 
which are strung several brass rings, ex- 
tends from side to side (A, Fig. 4). 
Now the strings attached to the arms and legs pass up and through these 
rings, whence they descend behind the cloth screen and are moved 



Fig. 4. — Sectional view of 
Marionette stage. 



Fig. 5.- 



-Living Marionette operator 
at work. 



LIVING MARIONETTES 3 6<> 

invisibly by the operator. As there is only one figure to work, 
you can hold the arm threads in one hand, the leg threads in the 
other, whilst the supporting body thread passes in a loop around 
your neck. In this way the body is forced to move with the living 
head, as though really a part of it (Fig. 5). 

You should now make up your face to suit the character. 
Suppose the body represents an ordinary Jack Tar, with bell-bottomed 
trousers, blue collar, and so forth. The comic sailor's beard must be 
so adjusted that its bushiness will conceal what may be called the 
junction between your head and his false body. The hat or round 
cap can be put on at a nautical tilt. 

Having fixed the body-thread around your throat and fastened the 
beard, crane your own neck forward, and place the Marionette body 
upon the stage, having the strip of black cloth between it and your 
shoulders. Arrange the arm and leg strings through the rings, and 
keep the ends in your hands ready for action. When everything is 
completed, draw the curtain and commence. 

Comical Effects 

Songs and monologues are naturally the best turns for the Living 
Marionette. Choose a rollicking, nautical song, suitable to Jack 
Tar. All the gestures and motions can be given to the limbs by 
means of the threads, whilst every now and again Jack can enliven 
himself and the audience by executing a hornpipe. A little practice 
with the leg-strings will enable you to perform this with great effect. 

Always strive to obtain comical effects. If the gallant mariner 
has a telescope in his hand, this should be raised to the eye, where 
the extraordinary contrast between the tiny hand holding a midget 
telescope, and the enormous face emerging from its forest of beard, 
is ludicrous in the extreme. 

Or if the other branch of the Service be on the boards, the cavalry- 
man may flourish a saber, which, at full arm's length, will scarcely 
reach the tip of his ear. A tiny rifle raised to the shoulder makes 
another laughable effect. 

The Man about Town is a humorous figure. Dressed in an 
exaggeration of the latest style, with a dapper strut, flourishing a 
modish cane, he is a person to be admired — and laughed at. Over 
the pigmy body looms an enormous face, smoking a huge cigar, 
big even for an ordinary individual. Naturally it would be impossible 
to sing or speak with the cigar in his mouth, and it cannot be 
gracefully removed with dummy hands that will scarcely reach it.- 
The simplest method of getting the cigar out of the way is to make 



366 HOME FUN 

" Bertie " stumble over his own cane, for instance, and in the agitation 
of the moment drop his " smoke." He will then be able to air his 
peculiarities in comfort, and will prove a most amusing personage. 

Two figures may be introduced upon the stage, although they 
are likely to prove a tight fit. Some laughable dialogues and duets 
are the result. Quarrels or love scenes must be intensely funny. 
A young gentleman and a younger lady can be introduced with 
much formality, and, advancing to shake hands, meet with an 
embarrassing adventure, pleasant enough in its way. Owing to the 
smallness of their arms and the largeness of their faces, before their 
hands have met, their lips have perforce sealed the contract of 
friendship. 

A general idea of Living Marionettes and their working may 
be gained from the foregoing suggestions. Sentimental songs, sung 
with a whimsical air of grotesque pathos, will probably " bring the 
house down," whilst the applause attending a good comic song in 
character will encourage all parties concerned. 

Living Marionettes are sometimes introduced in conjunction with 
an ordinary Marionette show, and should be given after the latter 
has concluded. The contrast between the symmetrical little mannikins 
and the distorted living doll will be remarkable, whilst the exuberant 
humor of the latter is sure to provide a pleasant finale to what all 
will judge a delightful evening. 



CHAPTER XLIII 

A HOME CIRCUS 




A New Form of Entertainment 

A home circus has so far been beyond the wildest dreams of the amateur 
showman. Yet when one considers the wide scope a circus presents 
to performers of every type, it is curious that " amateur circuses " are 
not almost as popular as " amateur theatricals." At first sight such a 
show seems impracticable, on account of the large floor area required 
for the ring. This need 
occupy but little more 
space than a stage, how- 
ever; and, taking into 
consideration the fact 
that the audience almost 
completely surrounds the 
performers, it will ulti- 
mately be found that a 
circus does not necessi- 
tate so large a room as 
might be anticipated. 

Of premier importance, of course, is the ring itself. It need not 
be more than fifteen feet in diameter; but if additional space can be 
spared, so much the better. 

Fig. i gives a plan of a ring. It principally consists of a circular 
barricade about 30 inches high. In one portion there is a gap of 
four or five feet, which acts as an entrance (A, Fig. 1). If the ring 
can be so arranged that a door of the room in which the circus is 
being constructed, coincides with this entrance, much trouble will be 
saved. Should this be impossible, however, two or three screens can 
be arranged to form a passage from the ring entrance to the nearest 
door. 

The method of constructing the barricade is explained in Fig. 2. 
A number of broomsticks are sawn into 30 inch lengths and fixed 
to heavy wooden bases in order that they may stand firmly upon the 

367 



Fig. 1. — Showing barricade and ring entrance. 




Fig. 2. — Construction of barricade. 



368 HOME FUN 

floor. A hole is then bored in the other extremity; this may be done 
by means of a red-hot meat skewer. 

The position selected for the ring must next be marked out in 
chalk, and the wooden stands placed round it at intervals of about a 
yard. Then thread a piece of stout cord through the holes in the 
extremities of the uprights. 

Having determined the exact circumference of the ring, purchase a 

sufficient length of cheap 
red flannelette to go com- 
pletely round it. The cost 
of this material should be 
about 10 cents per yard, 
and its width exactly equal 
to the height of the stands. 
A number of large hooks 
must be obtained from the same shop, and sewn along one edge of 
the flannelette. It remains only to hook the material to the cord, as 
shown in Fig. 2, in order to complete the barricade. 

The entrance must now be artistically draped with curtains, after 
the style of A, Fig. 1. It will then serve the additional purpose of a 
" stage," upon which conjurers, jugglers, and other artists who do not 
wish the audience to see the back of their apparatus can perform. 

The vexed question of " lights " — always a difficult problem in 
amateur theatricals — need not here be considered, the gas or electric 
fixtures already installed being sufficient. 

A circus is never complete without its horses, 
now be paid to this 
department. It is 
hardly practicable to 
turn several full- 
grown animals loose 
in a circus con- 
structed in an ordi- 
nary room nor is 
it probable that the 
reader's purse will 
run to the importa- 
tion of one or two 
Shetland ponies. 
But a whole stud of " circus horses " may be obtained at small expense 
by carrying out the following directions. 

Purchase three yards of cotton cloth, at 6 cents per yard. Fold the 
material in the center, thus making a double piece i l / 2 yards long. With 



so attention must 




Fig. 3. — Showing outline of horse and part to be stitched. 



THE HOME CIRCUS 



369 



a pencil or piece of chalk sketch the outlines of the head and back of 
a horse upon it, as shown in Fig. 3. Then take a pair of scissors and 
carefully cut out the stuff. The result will be two horse-shaped pieces 
of calico of exactly similar proportions. 

At this stage, if the young showman is wise, he will place the opera- 
tions in the hands of his mother or sister, for the two patterns must be 
stitched together along the edges, to the points marked A and B, 
Fig. 3. This done, the whole affair should be turned inside out. 

Next obtain a quantity of rags or shavings, or purchase some 
excelsior from an upholsterer's, and stuff first the head and then the 
haunches of the " horse." The two unsewn pieces of cloth in the center 
remain empty. One of them must be cut in half, and the two sections 




Fig. 4. — Opening in horse for rider ; tapes at A and B to be tied. 

thus obtained folded and stitched into the form of two small bolsters and 
stuffed with flock (A, B, Fig. 4). 

The remaining side should be similarly treated, only in this case it 
must not be cut in half, but remain intact. The result will be the 
head and haunches of a horse, with two " sausage-shaped " flanks in 
the center (Fig. 4). 



Other Decorations 

The " noble thorough-bred " is now ready for its final decorations. 

Unravel some coarse rope and sew it along the neck of the horse 
to represent the mane. Another piece, unraveled at one end only, 
does duty for a tail. The ears are constructed by cutting a piece of 
calico, folded in the form of a sugar bag, perpendicularly down the 
center, and stitching the two halves into position on the head. 

The color of the horse must next be determined. If dapple-gray, 
a few ink blobs upon the white background will suffice; but if chest- 



370 HOME FUN 

nut, brown, or black, a distemper must be applied with a thick brush. 
This distemper can be made by mixing ordinary water color, of the 
shade required, with size water, and thickening with whiting. 

When the distemper is dry, the " rider " of the horse must get into 
the hollow in the center, and secure it to his hips by tying the tapes 
together at A, B, Fig. 4. A " vallance " of cretonne should then be 
sewn completely round the horse to hide the " rider's " legs (Fig. 5). 



Fig. 5. — Ready for the tournament. 

A pair of reins, and two dummy legs stitched on the flanks complete 
the " mount." 

It will be noticed that in Fig. 5 the " rider " has a short skirt at 
the waist of his coat or armor. This is to hide the manner in which 
the horse is attached to the " rider's " hips, and the junction of the 
dummy legs. 

These horses can be used in numerous ways. A very effective 
item in which they might be employed is a " tilting scene." Two 
knights attired in armor — this latter commodity can be easily con- 



THE HOME CIRCUS 371 

structed, as it consists simply of back- and breast-plates made from 
painted cardboard, with a helmet of the same material — " canter " 
into the ring. A clown follows them, also mounted, and carrying 
two long poles upon the ends of which are pads of rag, one covered 
with soot and the other with flour. 

The clown then proposes that they shall have a tournament, and 
offers to act as referee. He thereupon hands them the poles, and, 
holding them as they would lances, the knights retire to opposite sides 




Fig. 6. — Dummy horse for bareback rider. 



of the ring. At a signal from the clown, the combatants dash towards 
each other, to commence the attack. The self -constituted referee gets 
in the way, however, and comes in for a lot of hustling. The knights 
again retire, and once more advance to the attack. But, as before, 
the clown becomes mixed up in the affray. This occurs again and 
again. Finally the two principals lose their temper and make a joint 
attack upon the referee. Pursued by the irate knights, the clown 
dashes round and round the ring, making his horse gallop first back- 
wards, then sideways, and perform other ludicrous capers. At length, 



372 HOME FUN 

daubed with soot and flour from the knights' " lances," he darts pre- 
cipitately from the ring. 

There is another style of " horse " shown in Fig. 6. The carcase 
is made in a manner similar to that already described, but in this case 
the stuffing must be replaced by two men or boys, who crouch in 
the position illustrated in the diagram. It will be necessary, however, 
slightly to stuff the " horse " in such places as the head and haunches, 
in order to make it of correct shape. 

The two men or boys must carry upon their backs an oval-shaped 
piece of board, having four " legs " nailed to its side, by means of 
which the carriers hold it firmly in position during the performance. 
This is clearly shown in Fig. 6. The purpose of the board is to make 
a flat and solid surface upon which the " daring bareback rider " can 
perform. 

The performance consists of jumping over garlands and through 
hoops; leaping on to the back of the "horse" whilst it is at full 
gallop, and other of the more simple feats seen at circuses. 

It is preferable, however, that the " bareback rider " should be 
a clown, who, instead of jumping the garlands, trips over them, and 
falls headlong to the. ground, completely misses the horse when at- 
tempting to leap upon its back, and lands on the ringmaster instead, 
thus making a travesty of the whole affair. 

The next performance should be of a more serious nature. 

Among the reader's acquaintances is sure to be one who goes in 
for gymnastics, and he should be prevailed upon to give an exhibition 
of his prowess upon the parallel bars, these being preferable to any 
other apparatus on account of the small space they occupy. To 
increase the interest of the display, a clown should attempt to emulate 
each movement as it is performed, but must fail miserably and come 
a " cropper " every time. It is advisable to have a set of mattresses 
to soften any unpremeditated falls. 

How is it Done? 

Another item suitable for the programme of the home circus is 
a " mock " conjuring entertainment. The ring-master announces 
that Herr Bluffemstein, the famous illusionist, will present his marvel- 
ous performance. Thereupon one of the boys or young men taking 
part in the circus must stalk majestically into the ring, and bow stiffly 
to the audience. If possible he should be attired in evening dress. 
He should also wear a fierce, upturned mustache, and carry an air- 
gun under his arm. A large target is then placed in the curtained 
entrance to the ring. This target consists merely of a wooden board 






THE HOME CIRCUS 



373 




Fig. 7. — Target for trick shooting. 



containing several bent nails, upon which lighted candles are stuck. 
Below each candle a large number is painted (Fig. 7). 

" Herr Bluffemstein " then requests the audience to call out one 
of these numbers. Upon their complying, he loads the air-gun, raises 
it to his shoulder, takes aim, fires — and the lighted candle over 
the chosen number goes out! 
He repeats this marvelous feat 
of marksmanship several times. 
Then, without warning, the re- 
maining candles are suddenly 
extinguished one by one, and a 
voice exclaims : " I say, mister, 
how much longer are you going to 
keep me blowing out these lights ? " 

The next moment a boy, 
wearing a glaring red wig, steps 
from behind the target, where he 
has been engaged in blowing out 
the candles through small holes bored exactly level with the wicks. 

After admonishing his assistant for having " given the game 
away," the conjurer tells him to fetch the apparatus for the next 
trick. The boy retires, but shortly reappears with a tin kettle and a 
jug of water. " Herr Bluffemstein " then proceeds to fill the kettle 
with water. Having done so, he holds it over his assistant's head. A 
few seconds pass, then steam is seen to be issuing from the spout ! 

The illusionist hands the kettle to his assistant, with instructions 
to take it away and fetch something else. The boy, however, lifts off 
the lid, and placing his hand into the interior, draws out a piece of 
wire to which is attached a smoldering ball of brown paper. 

The conjurer, enraged at thus having his second trick spoilt, chases 
his assistant round the ring. He at length gives up the chase as 
hopeless, and entices him to proceed with the next trick. The boy 
again leaves the ring; but soon returns with a slate, a slip of ordinary 
writing-paper, a wet sponge, and a piece of brown paper. 

The latter requires a little preparation before being used. The 
conjurer and his assistant must fix upon a certain number — say 
21 — and write it reversely on the brown paper with a thick piece of 
chalk. This, of course, must be done " behind the scenes," and the 
assistant should be careful that the audience do not catch sight of the 
figures when he enters the ring. 

" Herr Bluffemstein " takes the slip of white paper, and hands it in 
turn to three people sitting in different parts of the room, with the 
request that each shall write a certain number upon it without letting 



374 HOME FUN 

him know what has been written. Whilst they are thus engaged he 
wipes the slate with the wet sponge, and proceeds to wrap it in the 
brown paper, taking care that the chalked figures come in contact with 
the middle of the slate. Placing the parcel on the ground, he orders 
his assistant to stand upon it. The pressure thus applied will, of 
course, print the chalked figures on to the slate. 

The conjurer then takes the paper from the member of the audi- 
ence who last wrote upon it. Handing it to the boy, he instructs him 
to add up the figures, and read out the result. The boy pretends to 
make the addition, but in reality calls out the number previously 
decided upon. 

When the slate is unwrapped the audience are amazed to perceive 
the apparently correct figures chalked upon it. But before their 
astonishment has had time to abate, the assistant whips up the brown 
paper, and displaying the chalked figures to the audience, exclaims: 
" Why, sir, there's still a lot more chalk to come off ! And do you 
know I nearly forgot the number I was told to call out? " 

There are numerous other tricks than can be adapted in the above 
manner, but space will not permit further examples to be given. It 
is a good plan to finish up with a really first-class illusion, such as 

The Indian Sack Trick 

In this illusion the assistant brings forward a sack and proceeds 
to get into it. The conjurer then seizes the top of the sack, and pulls 
it right over the boy's head. Producing a piece of rope, he requests 
some one in the audience so to tie the mouth of the sack that it will 
be impossible for the assistant to get out. 

When this is done, the conjurer places a screen round the boy, 
and slowly counts " One, two, three ! " As he utters the last word, 
he pulls away the screen. The assistant is then seen to be perfectly 
free, with the sack slung carelessly across his shoulder. When the 
sack is examined it is found to be still securely tied with the identical 
knot made by the member of the audience. 

The explanation lies in the fact that two sacks are employed. The 
assistant has one secreted up his coat, and as the conjurer pulls the 
first sack over his head, the boy carefully pushes the top of the other 
through its mouth. The conjurer hides the junction between the two 
by gathering the material together in his hand — apparently with thft 
intention of making it more easy to tie. Consequently the member 
from the audience unconsciously ties the mouth of the second sack 
instead of the first. All that is necessary for the assistant to do, 
therefore, when the screen is placed round him is to scramble out of the 



THE HOME CIRCUS 375 

first sack, stuff it up his coat out of sight, then sling the other carelessly 
over his shoulder. 

Juggling is another performance eminently suitable for a show such 
as the home circus. The only juggling the average person is capable 
of, however, consists in balancing a stick upon his finger, or keeping a 
couple of balls in motion. But the few hints given below will make it 
possible for any one to give a trick juggling performance after a few 
hours' practice. 

Trick Juggling 

Fig. 8 shows the first feat — that of balancing a stick, card, and 
wooden ball upon the hand. The whole secret lies in the card. It 





Fig. 8. — Balancing stick, card, and 
wooden ball. 



Fig. 9. 



-Two balls balanced 
upon stick. 



really consists of two cards pasted together, with a piece of wire 
passing diagonally between them and protruding about half an inch at 
each end. In both the ball and stick are small holes into which this 
wire fits. The audience, of course, must be kept in ignorance of this 
— not a difficult thing to do when several feet separate them from the 
performer. 

The feat depicted in Fig. 9 consists in balancing two balls upon a 
stick. This is done by means of a wire constructed to slide up and 
down in the center of the stick. At first this wire is completely 
hidden, but by pushing up the small handle the performer can make 
it protrude from the extremity of the stick, and pass through small 



HOME FUN 

Of course, other objects may be made to balance 



376 

holes in the balls, 
by this device. 

The juggler should also number amongst his apparatus several 
cardboard plates of the pattern shown by the three diagrams com- 
prising Fig. 10. A segment must first be cut from a circular piece of 






B 



Fig. 10. — Cardboard plate for spinning. 



cardboard, as shown by A. The edges of this segment should then be 
gummed together, the result being the conical contrivance seen in B. 
Lastly, a circular cardboard ring must be fixed to the edge of this 
cone, C, and the plate is complete. It is quite an easy matter to im- 
part a spin to these plates as they are thrown into the air, and then 
catch them on the end of a stick, where they will rapidly revolve with- 
out the possibility of falling. 

whereby a billiard ball can be made to 
A piece of wire is hinged to the bottom 
of the fan, the other end protruding 
about one-eighth of an inch beyond 
the edge. The billiard ball, which is 
partly pierced by a small hole, fixes 
upon this wire. If the performer 



Fig. 11 shows a method 
roll along the edge of a fan. 




%tLm * ♦ 



Fig. 11. — Balancing ball on fan. 



Fig. 12. — Trick cards. 



then places his forefinger in the small ring made in the wire, and 
works it slowly backward and forwards, the billiard ball will appear 
to be rolling along the edge of the fan. 

An excellent series of tricks may also be performed by means of a 
pack of cards, having each card joined together by a thin piece of 
twine in the manner shown by Fig. 12. 






THE HOME CIRCUS 377 

Numerous other devices can be adopted by the juggler, and the 
suggestions offered above may be enlarged upon considerably. The 
merest tyro in the " art of balancing " should thus be able to con- 
tribute an excellent item to the home circus. 

Every owner of a dog has taught his pet at some time or another 
several little tricks. The manager of the circus should therefore get 
those of his acquaintances who possess dogs to combine in contributing 
to the programme. 

Then, again, a big dog might be clothed in a " bull's skin " made 
from calico, and a farcical bull-fight arranged. Here the circus 
" horses " could be once more employed to good purpose. 

The " strong man " is a character always associated with circuses, 
and there is no reason why the home circus should not possess one. 
The weights must be made from wood, painted black to represent the 
genuine article. After the " strong man " — who should be selected 
from the most powerfully-built of the reader's acquaintances — has 
lifted the different " weights," apparently with a great deal of exer- 
tion, he makes his exit, leaving them upon the ground. A little boy 
then enters, and picking up all the " weights," walks unconcernedly 
from the ring. 

As has been before mentioned, the home circus presents scope for 
almost every kind of amateur performance, but it must be left to the 
ingenuity of the reader to give further variety and make the programme 
as attractive as possible. 

As a grand finale, a stirring, spectacular sketch should be given — 
such as an attack upon a settler's hut by redskins, or a raid on the 
shanty of a miner. The main idea in this sketch must be to make a 
lot of noise, blaze away with toy pistols at frequent intervals, and 
burn as much " colored fire " as possible. The soldiers or mounted 
police should arrive in the nick of time, of course, and drive the 
marauders completely from the field. Thus everything ends quite 
happily. 



CHAPTER XLIV 

HOW TO MAKE AND WORK A PEEP-SHOW 



An Old Form of Entertainment Revived 

A peep-show makes an excellent and quite novel form of home enter- 
tainment, and a boy would be well repaid for any trouble to which 
the construction of one might put him. 

The first consideration is the dimensions of the show. One can 

be large enough to occupy 
the whole of a table, or so 
small that it can be made 
from a soap or cigar box. 
The best course, therefore, 
will be to leave the ques- 
tion of size to the reader. 

Fig. i is an illustration 
of the peep-show when 
finished. 

The first requisite is a 
wooden box of the shape 
shown in Fig. 2. As pre- 
viously mentioned, for a 
small show a cigar box 
does admirably. If you 
visit a friend who has just 
commenced smoking, and 
ask him for a box, he will 
most likely bless you for the 
opportunity you have given 
him of throwing away his 
horribly strong cigars. 
Should no such friend be 
numbered amongst your 
acquaintances, however, a tobacconist will be pleased to let you have 
one for a cent or so. 

Having obtained the box, commence operations upon it. First 

378 




Fig. 1. — The finished show. 



HOW TO MAKE AND WORK A PEEP-SHOW 379 

of all one end must be entirely removed, not a very difficult task 
to accomplish. The next thing to do is to make the peep-holes. 
There is no fixed size for these. They may be large enough for both 
eyes to be applied, or to permit only one to gaze through. But 
provided they are of sufficient dimensions to allow the " audience " 
to obtain a comprehensive 
view of the interior that is 
all that is required. 

The number of peep- 
holes must, of course, be 
regulated by the size of the 
show. 

If the reader possesses 
a fretsaw the making of the 
holes will present no diffi- 
culty. The best method to 
be adopted by those who 
have not one of these use- 
ful instruments, is to make 
small holes in the necessary 
places with a red-hot poker. 
They can then be easily 
whittled to the desired size 




-Showing back view of stage front and 
lighting. 



with a penknife, the edges being finished off with a piece of emery 
paper. Should the reader wish to make his show " extra smart," 
he can putty a piece of glass inside the box over the holes. But 
this is not essential. 

Next obtain a piece of cardboard, and from it cut out a stage 
front to fit the interior of the box, as shown in Fig. 2. This front 
must be painted in bright colors and glued inside the box about 
2^/2 inches from the end opposite to that at which the peep-holes have 
been made. 

The dotted lines in the illustration of the finished show (Fig. 1) 
indicate the position of this stage front. A reference to the same 
diagram will also show a small door at the side of the show (D, Fig. 1). 
This must next claim our attention. 

Simply cut a small aperture about 3 inches wide by 4 inches deep, 
and hinge the oblong of wood thus obtained back into its position 
by means of a piece of linen and glue. The object of this door is to 
enable the showman to attend to the lighting of his show, done by 
means of a candle, or, if necessary, two or three candles. The lights 
are placed behind the stage front in such a position that they are 
invisible to those gazing through the peep-holes. In order that the 




380 HOME FUN 

candles shall not scorch the roof, they should be placed upon pieces 

of tin, bent to the shape shown in Fig. 3. 

The first portion of the show is now 
complete, and we will turn our atten- 
tion to the second, and more important 
section. 

Another raid must be made upon the 
tobacconist's or grocer's and a second box 
procured similar to the first. It is neces- 
sary that this box should be of the same 
width, and at least twice as high as the 
first is deep. 

This box is represented by B, Fig. 1. 
Stand it on end and place the other against 
it in the manner shown by the diagram. 

Now take a pencil and mark a line across 
Fig. 3. — Candle stand and roof , t , , , • , • , • •,, ,, r , 

protector. the second box at its junction with the first. 

With a fretsaw or penknife make a cut along 

this line, and then completely remove the square of wood below 

this cut. A glance at Fig. 4 will 

make this clear. 

The back of the box must be 
taken off and hinged on again in 
the form of a door. This is to 
enable the youthful showman 
easily to execute repairs if any- 
thing " goes wrong with the 
works." 

It is now time to turn atten- 
tion to the most important portion 
of the show — the scenes. 

If the reader possesses any 
artistic ability, he cannot do better 
than paint them himself. A few 
hints upon this subject will perhaps 
be useful. 

He must pay a visit to a 
stationer's, and purchase a supply 
of white drawing-card, such as 
is used by artists. A fair-sized 
sheet costs only two cents. Hav- 

, /. . . i-,i Fig. 4. — Scene-raising apparatus. 

ing procured this he must lightly 

sketch, in pencil, the first scene upon it. If he be at all doubtful as 




HOW TO MAKE AND WORK A PEEP-SHOW 381 

to his artistic abilities, however, the following is an excellent plan 
to adopt. 

Armed with a pencil and piece of tracing-paper cut to the size 
of the scenes, he should carefully examine the various illustrations 
appearing in magazines. A short search should reveal a mountain, 
a mass of foliage, a w T aste of sea, or some other subject suitable for 
the background of the first scene. He must then get to work with 
the pencil and trace this upon the tracing-paper. Another search 
will bring to light something adaptable for the middle-distance. Lastly, 
a group of objects for the foreground must be selected, and the whole 
transferred first to the tracing-paper and thence to the draw T ing-card. 
Thus by taking a background from one illustration and a foreground 
from another, almost any scene may be built up. 

After being sketched-in in pencil the scenes must be colored. 
This should be done with a view to general effect rather than per- 
fect detail. First the predominant 
colors should be laid on in a bold 
wash, then the objects in the back- 
ground painted in. The coloring 
must be as vivid as possible, in fact, 
almost gaudy. 

Instead of each scene repre- 
senting a single incident, it is pre- 



ferable to weave the whole series 
into some sort of a narrative, such 
as " A Voyage round the World," 
"With Shackleton to the South 
Pole," or, if the reader is very 
imaginative, " Round the United 
States in an Aeroplane." 

Having procured the scenes — 
they can number from half-a-dozen 
to a score — proceed to fix them in 
the show. Fig. 5 gives an interior 
view of scene-raising apparatus. 

A hole must first be bored in the center of each scene and pieces 
of stout thread knotted in them. A series of diminutive wire-rings, 
corresponding numerically to the number of scenes, must be fixed 
into the roof of the box in the position indicated by the dots at A, 
Fig. 4. Fig. 5 shows position of wire-rings at A, B thread, and C 
loop for scene-raising. The pieces of thread must be carried through 
the rings at A, bent at right angles at B, and brought to the outside 
of the box through a number of small holes (B, Fig. 4). 




Fig. 



-Interior view of scene-raising 
apparatus. 



382 HOME FUN 

It will now be observed that when one of these threads is pulled, 
the scene to which it is attached is lifted swiftly out of view of the 
audience and behind the top portion of the box. 

In order to prevent the scenes and threads becoming entangled 
when raised and lowered, thin strips of wood should be glued up 
either side of the box, thus making a series of grooves in which each 
scene can work. In Fig. 4 the first scene has been raised, leaving one 
of these grooves displayed to view. 

Another reference to this diagram (C, Fig. 4) will show a 
number of small nails corresponding to the holes at B. When a scene 
is pulled up, the wire-ring at the end of the thread can be slipped over 
this nail, thus preventing its dropping down again. 

It now remains only to put the two sections of the peep- 
show together. This is easily done. Simply push one box firmly 
against the other in the manner shown in Fig. 1, and secure them 
either by means of small brads or strong glue. 

The whole contrivance can then be painted and decorated to 
suit the taste of the young showman, and everything is ready for 
the first " performance." 

The showman lights his candles, places the show upon the table 
in a convenient position, and gets his " audience " to look through 
the peep-holes. Then he starts upon his description of the first 
scene, making it as entertaining as possible by well padding with jokes. 
When he has finished with the first scene — Zr-r-rip ! — he pulls the 
thread, the picture is whisked out of the audience's view before they 
quite realize what has happened, and the next scene is displayed. 

Thus he will go through the whole series of pictures, and then 
— well, after that, I trust he will be listening to the congratulations of 
the audience upon his success as a peep-show man. 



CHAPTER XLV 

THE " MECHANICAL " PEEP-SHOW 

Secrets of Lightning Transformations 

There is another variety of peep-show well worthy of attention. It 
is known as the " mechanical " peep-show. A short account of the 
finished show will not be out of place before proceeding with a more 
detailed description. 

Upon looking through the peep-holes the interior of a cottage is 
perceived, including side wings. The next moment, however, a faint 
click is heard -and the interior of the cottage miraculously vanishes, 
giving place to a scene in a forest glade ! 

The simplest and most satisfactory manner of explaining this mar- 
velous transformation is to describe how one of these " mechanical " 
shows may be made. 

Procure a wooden box similar to the first of those employed in 
the manufacture of the previous show. Having decided upon the 
number of peep-holes, cut them out in the manner already described. 
Another " stage front " must then 
be fixed in position about 3 inches 
from the peep-holes (Fig. 1). For 
the sake of convenience it is advis- 
able to turn the box upside down, 
with the lid at the bottom instead 
of the top. This will permit the 
interior of the show being attended 
to without unnecessarily disturbing 
the mechanism. 

Having, for the time being, 
finished with the body of the peep- 
show, turn your attention to the 
internal parts. These are by no FlG - 1.— Handles and tin clip for holding 
means complicated. scenes. 

First obtain a piece of white drawing-card, and cut it to fit exactly 
the back of the box. Then take another piece, half the size of the 

383 




■8- ? 




384 HOME FUN 

first, and hinge it by means of a strip of linen and gum to the center 

as shown in A A, Fig. 2. 

With the flap thus formed hanging downwards, place the card 

upon the table, and proceed to paint thereon a forest scene (C, Fig. 2). 

If a suitable illustration can be procured from a magazine it will 
x» only be necessary to paste 

it on the card and care- 
fully trim the edges. 

Having satisfactorily 
completed the forest scene, 
bend the flap upwards, 
thus hiding the picture, 
leaving in its place a blank 
piece of card. Brushes 
and paints must again be 
employed, and the blank 
card transformed to the 
interior of a cottage. The 
result is the " double- 
barreled " scene repre- 
sented by Fig. 2. A 
glance at this diagram 

makes it apparent that by simply dropping down, or lifting up, the 

hinged flap D, the scene can be changed at the will of the operator. 
Fig. 3 is an example of one of the wings employed in the show. 

Like the scene, it is " double-barreled." A strip of white cardboard 

is the first requisite. Its size will be dependent 

upon the dimensions of the show. 

Draw a line down the center of the card (Fig. 3). 

Then proceed to paint upon one side of this line a 

section of a tree, or some other piece of forest 

foliage (A, Fig. 3). Having done this, turn the 

card over and paint upon the reverse side a cur- 
tain, window, or anything else suggesting a cottage 

interior at B, Fig. 3. This double wing must then 

be carefully cut out in the manner shown. 

Next take a piece of wood slightly longer than 

the wing, and about J^-inch wide by ^-inch thick. 

Glue this to the center of the wing as shown at C, FlG - 3 ^{£1 of .^ ouble " 

Fig. 3. A closer reference to this diagram reveals 

that the strip of wood is whittled to a point at E; also that a wire 

" handle " is fixed to the other extremity, D. At present, however, 

this " handle " should be held in reserve. 



Fig. 2. — A double-barreled scene. 



r"D 




THE " MECHANICAL" PEEP-SHOW 385 

Three other wings have also to be made. Fig. 4 suggests the 
various forms they may take. 

The segments of the show are now complete, and all that remains 
is to put them together. 

First take the hinged scene and fix it in the end of the box opposite 
the peep-holes. To prevent 
the flap falling down at an in- 
opportune moment and dis- 
playing the wrong scene, a slit 
must be made at the top of 
the box and a small strip of 
tin inserted (B, Fig. 1). This 
strip of tin is also shown at B, 
Fig. 2. It will be found that 
when this is pushed down, it 
clips on the flap D, holding it 
against C. 

On being pulled up, how- 
ever, the flap is released, and, 
falling down, changes the pic- X 
ture. To lift the flap again, 
attach a piece of thread to one 

corner, carrying the loose end out through a small hole in the back of 
the box. 

The wings should be placed in the interior of the show, in the 
position illustrated by Fig. 4. The wooden point at the base of each 
wing acts as a pivot in a small hole made in the bottom of the box. 
Four corresponding holes must also be bored at the top. 

The wire " handles " next claim attention. They should be pushed 
through the small hole, as shown in Fig. 1, and fixed firmly in each 
wing. The holes must, in every case, be large enough to permit the 
wings to revolve easily and with the least possible resistance. 

Each " handle " is connected by a straight piece of wire having 
both ends bent in the form of a small ring (G, Fig. 4). It will 
also be noticed in this diagram that one of these " handles " has a 
considerably longer shank than the others (H, Fig. 4). This is to 
enable the showman to bring about the transformation previously 
explained. 

A glance at Fig. 4 will make it apparent that when H is turned, 
the four wings revolve also. Thus the wings for the forest scene may 
be suddenly switched out of sight, and those for the interior of the 
cottage displayed, or vice versa, at the will of the operator. To 
prevent the wings revolving too far, a small block of wood should be 




Simultaneous revolving wings. 



386 HOME FUN 

nailed to the bottom of the box at the base of the first wing, in the 
position shown by X, Fig. 4. 

The mechanical peep-show is now finished. After the showman 
has grouped his audience at the peep-holes, and all is ready for the 
transformation, he simply turns the wire handle with one hand, and 
with the other simultaneously raises the clip securing the back scene. 
All that is heard by those at the peep-holes is a faint click as the 
wings revolve. Then they perceive, with no little bewilderment, that 
in some inexplicable manner the interior of the show has been com- 
pletely changed. The showman will be wise to refrain from permitting 
them further to examine the apparatus, however, for when they 
realize the absurdly simple mechanism by which the transformation 
is wrought, their bewilderment will vanish even more rapidly than do 
the scenes themselves. 



CHAPTER XLVI 

HOW TO MAKE AND WORK A PUNCH AND 
JUDY SHOW 

His Highness of the Hump 

Mr. Punch and Mrs. Judy at one time held quite an exalted position 
among forms of entertainment dear to the heart of the British boy. 
As far back as the reign of Queen Anne, a well-known periodical 
devoted quite a considerable space to a criticism of a Punch and Judy 
performance! 

Moreover, in England, less than fifty years ago it was no unusual 
occurrence for a traveling showman to hire a barn or large room and give 



Fig. i. — The framework. Fig. 2. — Frames hinged together. 

a whole evening's performance with his Punch and Judy. 

Punch is just as amusing indoors as out, and the boy who is in- 
terested in giving different forms of home entertainment will find a 
Punch and Judy an excellent addition to his other shows. 

The stage upon which Mr. Punch performs his amusing antics 
is simple of construction. 

387 



388 HOME FUN 

It will first be necessary to procure six uprights, each 7 feet long 
and 1 inch thick; and nine crosspieces each 2*^ feet long and 1 inch 
thick. 

Take a pair of uprights and join them together with three cross- 
pieces — one at each end and the other in the center. The result will 
be a framework such as is shown in Fig. 1. The four remaining 
uprights must be similarly treated. 

Altogether three frames will have been constructed, and they must 
be hinged together, as shown in Fig. 2. 

This may be done with either strips of cloth or small metal hinges. 
The latter may be purchased from any hardware store for a few 
cents. 

It will be noticed that the framework has only three sides. The 
fourth side is to be occupied by Punch's platform, which merely 
consists of a small board about 6 
inches wide and 2 feet 6 inches 
long. An oblong nick 1 inch by 
y 2 inch should be cut in each side 
of this platform, as shown both in 
Fig. 3 and A, Fig. 4. A cut of 
similar dimensions must also be 
made 5 feet 6 inches from the 
ground in both the front uprights ._ 
of the framework (B, Fig. 4). The £3 



^rcvr 



r 



Fig. 3. — The platform. 




a 




JUS 



Fig. 4. — Arrangement for supporting 
platform on frame. 



incisions in the platform dovetail into those in the uprights. To make 
all quite secure two small catches (A, Fig. 4) are fitted to the ends of 
the platform, and these clamp round the uprights, holding everything 
firmly in position. 

The framework is now complete, and with the exception of 
the small space above Punch's platform, should be covered with 
dark red or green paper cambric, which may be purchased at five 
or six cents a yard. The width of the cloth will be found just 
over 2 feet 6 inches, i.e. the same width as a single frame. The 
best course, therefore, will be to cut the cloth into seven-foot 
lengths and nail it with small tacks or brads over each frame 
separately. 



A PUNCH AND JUDY SHOW 389 

The space below Punch's platform, however, is covered in a different 
manner. 

A row of tacks or brads is driven into the front of the two uprights 
to about three-quarters of their length. A corresponding number of 
small curtain rings — to be obtained at any hardware store for 5 cents 
a dozen — are then sewn down the sides of a piece of the cambric 5 feet 
6 inches long. By this means the cloth may be hooked to the front 
of the show, as illustrated in Fig. 5. 



Packing Up the Show 

When the Punch and Judy Show has to be packed away, it is 
merely necessary to unhook the front cloth, take out the platform, 
and fold the framework up as though it were 
a screen or a clothes' horse. 

But before this trial " pack up " is attempted, 
there are one or two small but important addi- 
tions to be made. 

First of all, the top of the opening at which 
Punch presents his cheery countenance must 
be decorated. This is easily done. Two small 
nails are driven perpendicularly into the top of 
the front uprights, and a stout piece of wire 
stretched between them. A frieze of cambric is 
then hemmed round the wire (Fig. 5). The 
wire should be simply hooked on the nails, so 
that it can easily be detached when the show is |^ 
folded up. FlG 5 ._ Front of show 

A similar frieze must also be tacked along complete, 

the edge of the platform. 

With regard to the scenery! Mr. Punch is very modest in this 
direction, for he requires only two wings with which to garnish his 
abode. These generally take the form of a scene of the top window 
of a house, and the front of a shop or a portico. 

The front and back of one of these wings are shown in Figs. 6 
and 6a respectively. 

It consists merely of a framework of wood, ij4 feet long by 
9 inches wide, over which a piece of white cardboard is nailed or 
glued. The desired scene is then executed on the cardboard in either 
oil paint, water color, or crayon. 

The window itself should be cut completely out and hinged back 
again with a strip of linen, so that Punch and the other characters 
may poke their heads through (Fig. 6a). 




390 HOME FUN 

The complete wings must then be hinged one on each side of the 




Fig. 6. — Exterior view of window. 



Fig. 6a. — Back of wing. 



show, as seen in Fig. 7. In this diagram the wings are illustrated 
as seen from the inside. 

The Puppets 

The " stage " is now complete, and it remains but to make the 

grotesque little puppets that per- 
form upon it. 

Pride of place must be given, 
of course, to the redoubtable 
Punch himself. 

The most difficult part of this 
puppet to construct is the head. 
There are very few boys skillful 
enough to carve out the correct 
features from an ordinary block 
of wood; therefore they must find 
some other foundation upon which 
to work. A Dutch doll, to be 
purchased at any toyshop for a 
few cents, serves splendidly. 
Whilst the reader is in the toy- 
shop buying the one doll, he may 
as well extend his order to about 
a dozen more; not only are they 
useful for making Punch, but their stony countenances can be trans- 
formed into those of Judy or any of the other characters. 




Fig. 7. — Swing-doors opening inwards. 



A PUNCH AND JUDY SHOW 391 

The dolls should all be decapitated, and have their hands and 
feet removed as well. One of the heads must then be selected, and 
the little snub nose taken off with a sharp knife. A semicircular 
line should next be penciled right across the lower part of the 
face, and all the wood below this line cut away to the depth of 
}i inch or so (Fig. 8). A "false" chin is to go here, whilst a 





Fig. 8. — Preparing Punch's face. 



Fig. 9. — Punch's nose and chin. 



" false " nose must adorn the spot whence the original member was 
removed. 

Both nose and chin can be whittled from separate pieces of wood 
— the doll's discarded body will do. Fig. 9 shows the shape they 
should assume. When both have been carved to the reader's satis- 
faction, they must be glued firmly in their respective positions, and 
the joints hidden by a few judicious touches of the paint-brush. 

In the case of the nose, a small tag of wood must be left, as 
in Fig. 9, and a hole bored in the head to receive it. This will 
make the joint more secure than if it were simply glued, and as 
Punch's nose receives more than its fair share of knocks, the pre- 
caution of having it firmly fixed is not altogether an unwarrantable 
one. 

The adjusting of the " false " nose and chin is by no means a 
simple task, requiring, as it does, considerable ingenuity. But on the 
whole it will be found much easier than having to carve the entire 
face. 

The clothing of Punch is best left in the hands of the reader's 
mother or sister. Although it is astonishing what a boy can do with 
needle and thread when necessity puts him to the trial, making the 
tiny suit of scarlet calls for an amount of patience and a carefulness 
over detail that only a lady can be relied upon to exercise. 

Fig. 10 shows the pattern for Punch's coat. The cloth selected 
for the garment must be folded double, cut to the pattern given, 



392 HOME FUN 

then hemmed round the edges as indicated by the dotted lines. The 

sleeves are made separately, being afterwards sewn into position on 

the jacket. 

When the reader's mother or sister has finished the little scarlet 
coat, Punch's head must be glued by its neck 
into the collar, a lace frill being afterwards 
attached to finish off the joint neatly. The hands 
from the Dutch doll should next be glued into 
the sleeves, and smaller frills similarly attached. 

Before the head is 
stuck in position, how- 
ever, a hole must be bored 
in the base of the neck 
just large enough to 
admit the tip of the 
forefinger. 

For Punch's nether 
garments two cylinders of 
cloth only are necessary. 

The feet from the Dutch doll must be glued into 

one end of each cylinder, whilst the other ends 

should be sewn individually inside the front of 

the coat. 

A conical hat must next be made, and either 

glued or tacked to the head. After the hump 

has been well stuffed with wadding, Punch 

should have assumed an appearance similar to 

that of the gentleman depicted in Fig. n. 




Fig. io. — Pattern for 
Punch's coat. 




Fig. ii. — Mr. Punch. 



Working the Figures 



To " work " the figures the performer first 
puts his hand up the back of the coat, and sticks 

the tip of his forefinger in the hole in the head. He then places his 
thumb and second finger in the diminutive sleeves. By this means the 
puppet can be made to fling his arms about, and move his head in a 
most grotesque fashion. 

The other puppets are constructed on practically the same lines; 
but in the majority of cases it will be unnecessary to provide them 
with knickerbockers and legs, as the audience see only the upper part 
of the bodies above the platform. In these circumstances the attire 
can take the form of a simple, long, loose gown, such as that worn by 
the Clown in Fig. 12. 



A PUNCH AND JUDY SHOW 393 

Judy's prepossessing features may be made from another of the 
dolls' heads by substituting a beaked nose for the original organ. 
The lady's dress consists of a gown made 
from some red spotted material. 

By a judicious application of paint, and 
by gluing on colored tufts of wood for 
hair, the remaining heads can be transformed 
into craniums suitable for the other puppets. 

The Ghost 

The Ghost, however, may receive a little 
special treatment. One of 
the heads should be vividly 
painted in black and white 
to represent a skull. Then 
attach it to a wooden stick, 
decorated with a series of 
black rings, as shown in 

Fig. 13. 

The body consists of a 
long white gown similar to 
the other dresses, the only 
difference being that the 
head is left quite free in 

the collar. When the mysterious visitor makes his 
first appearance his head is right down upon his 
shoulders, as in Fig. 14. 

Directly Punch becomes too familiar, however, the 
showman can make the Ghost suddenly shoot out his 
for the Ghost. l° n §* neck, thereby giving the old gentleman a bad 
attack of the " nerves." 
There remains one other piece of " stage furniture " to be con- 
structed. This is the gallows— which plays such an important part 
in the exciting scene where Punch turns the tables on Jack Ketch. 

Take a piece of wood six inches long, half an inch wide, and 
an eighth of an inch thick, and nail it at right angles to the extremity 
of another piece the same width and thickness, only eight inches 
long. A third strip of wood must then be nailed diagonally between 
the other two. The completed article will have the appearance of 

Fig. 15- 

The end of the longer arm must be whittled to a blunt point, and 
a hole bored in Punch's platform to receive it. Two small holes should 





Fig. 12. — The Clown. 



394 HOME FUN 

also be bored in the short arm. They must be about two and a half 

inches apart, and a piece of 
string knotted in the first, then 
looped down and threaded 
through the second, as shown 
in the diagram. It is into this 
loop that the wily Punch per- 
suades Jack Ketch to place his 
head, when the old fellow glee- 
fully gives a sharp pull to the 
other end and hangs him. 

To those readers who do 
not possess a dog, at first sight 
Toby presents a difficulty which 
it seems impossible to over- 
come. But all that is neces- 
sary is to cut the head from a 
wooden toy dog and attach it 
to a stiff muslin gown, over 
which some black paint has 
been spotted to represent the 
tight skin of a mongrel terrier. 
By placing the hand up the 
gown, this " Toby " can be 
worked similarly to the puppets. 
Many professional showmen use what is known as a " Punch 

squeaker " for imitating Mr. Punch's voice. Most 

boys, with their well-known genius for mimicry, 

will find it much easier to assume the high-pitched 

tenor of Punch without any artificial aid. How- 
ever, for the benefit of those who are anxious to 

cheer the neighbors with the dulcet notes of the 

squeaker, instructions are given for making one. 
First obtain a piece of tape six or seven 

inches long and half an inch wide; also two 

pieces of tin about two inches long and half 

an inch wide. Both pieces of metal must then 

be bent slightly in the center, and a single layer 

of tape placed between them. The remaining 

tape is next bound firmly round the outside, 

all being held fast with thread. The finished \/ 

squeaker is illustrated in Fig. 16. Before being p IGi 15.— The gallows. 

used it should be well soaked in water. 




Fig. 14. — Ghost as seen at first appearance. 





A PUNCH AND JUDY SHOW 395 

To produce the required sound place the squeaker between the 



teeth, half speaking and half blowing the 

The story of Punch is so well 
known that most boys will be able to 
work out a performance of their own. 
But those who wish to give the correct 
version of the adventures encountered 
by our Hero of the Hump will find 
at any theatrical publishers' a little 
dialogue. 



words through 



it. 




Fig. 16. — The squeaker, 
book giving the complete 



CHAPTER XLVII 

DISSOLVING VIEWS 



Without a Magic Lantern 

Previous to the introduction of the cinematograph, dissolving views 
ranked amongst the most popular of entertainments. By means of 
a specially-constructed magic lantern, a painted picture from a glass 
slide is thrown upon a screen. Then, at the will of the operator, the 
picture apparently dissolves into a haze, through which a second picture 
gradually makes its appearance. 

Subjects are usually chosen which specially adapt themselves to such 
an optical illusion. For instance, a picture might be shown of a small 
country village, which slowly dissolves into a view of the same place 

several years after, 
when it has developed 
into a thriving and 
populous town. 

But the specially 
constructed magic lan- 
tern necessary for these 
dissolving views is a 
very costly piece of 
apparatus, the purchase 
of which would entail 
the careful saving of 
two or three years' 
pocket money. However keen a boy may be to provide some form 
of home entertainment for the amusement of his friends, such an 
alarming prospect would make his keenness dissolve as completely 
as the pictures he hoped to display. 

It is the purpose of this chapter, however, to explain how an 
apparatus may be constructed for a small sum that will bring about 
effects similar to those of the special magic lantern costing many 
dollars. 

Fig. i depicts the show as seen by the audience. It consists prin- 
cipally of a framework not unlike that of a model stage, the dimensions 

396 




Show as seen by audience. 



DISSOLVING VIEWS 397 

of which must be left to the decision of the reader. For the sake 
of convenience, however, it will be advisable to explain the method 
of constructing apparatus capable of displaying views about the size 
of a picture postcard. 

A stage front similar to that in Figs. 1 and 2 should first be cut 
from either thin wood or stout cardboard. The size of a picture post- 
card is usually 3^ 
inches by 5^ inches. 
Consequently the open- 
ing in the stage front 
must be about 6y 2 inches 
by 8y 2 inches. This 
allows for a nice margin 
around each dissolving 
view. 

It will be noticed 
from the diagrams that 




Fig. 2. — Show from back view. 



both sides of the show 

are fitted with two small 

rods, bearing miniature curtains. These are to prevent the audience 

seeing what the showman is doing " behind the scenes." Their mode 

of fixture is explained in Fig. 3. Four pins, with their heads nipped 

off, are bent in the shape of a horseshoe, and a pair driven into each 

side of the stage front (A, Fig. 3). 

The two rods, which can consist of thin pieces of cane, are then 

pushed into the sockets 
thus formed, and the cur- 
=0 tains threaded upon them 
by means of a wide hem 
sewn along the top. The 
advantage of this method 
of fixture is that when the 
show is packed up, the cur- 
tains can be easily removed 
by merely pulling the rods 
from their horseshoe-shaped 
sockets. 

The floor or base of the 
a piece of wood about 10 

inches long, ^g-inch thick, and of the same width as the stage front. 

A block of wood is then nailed or glued along one end of this, and the 

stage front fixed firmly to it (Fig. 2). 

Having done this, make a journey to the nearest glazier's, and 




Fig. 3. — Back view of partially constructed apparatus 
show must next be provided. Procure 




Fig. 4. — Showing position of picture postcard 
and glass screen. 



398 HOME FUN 

purchase a piece of glass of about the same dimensions as the wooden 
base. This should not cost more than ten cents. Clean the glass 
thoroughly, and rest it against the top of the stage- front at an angle 
of about 60 ° (Fig. 3). Next take a picture postcard, and lay it on 

the wooden base between the end 
of the glass and the stage front. 
(SeeB, Fig. 3.) 

If the room now be darkened, 
and a bright light thrown upon 
the postcard, its reflection will be 
clearly visible on the glass, and to 
those looking through the stage 
front it will appear exactly similar 
to the view projected upon a 
screen by a small magic lantern. 
Should the reflection be at all 
lopsided, the angle of the glass must be altered until this defect is 
remedied. A block of wood, or an ordinary cigar-box, must then 
be placed upon the wooden base with its edge along the glass, and 
nailed securely in position. (See A, Fig. 4.) 

Three pieces of cardboard are the next requisites. One piece 
is to be glued to the block of wood or cigar box at the back of the 
show; the other along one side, and the last 
over the top, as depicted in Fig. 4. It is now 
necessary to slide out the glass and paint the 
whole of the interior dead black. 



Exhibiting 

Whilst the paint is drying the young show- 
man can turn his attention to the lights. These 
merely consist of two lamps — photographic dark- 
room lamps are most suitable, or a wax candle 
will serve quite well. Each lamp is provided 
with a cardboard shutter serrated at the bottom, 
as shown in Fig. 5. It is this serration that im- 
parts the dissolving effects to the various views. Fig. 5-Lighting apparatus 

When the paint is dry the first exhibition with serrated shutter. 
may be given. 

The room in which the entertainment is to take place must be 
darkened; the glass placed in position between the cigar-box and the 
stage front, and the lamps lit. Two picture postcards must also be 
obtained; the first being placed upright upon the cigar-box at the 




DISSOLVING VIEWS 399 

back of the show, and the other on the wooden base between the 
glass and the stage front. A glance at Fig. 4 explains this. 

The two lamps must now be so arranged that the light from one, 
whilst brightly illuminating the first postcard, leaves the portion of 
the show behind the glass in complete darkness; and the light from the 
other falls solely upon the card on the cigar box. 

If the shutter of the first lamp is now closed, and that of the 
second opened, the audience will see only the postcard at the back, 
set in a frame of dead black. 

The exhibitor should then slowly press down the shutter of the 
second lamp, and simultaneously raise that of the first. The serrations 
■ — in one case gently cutting off the light, and in the other permitting 
it to stream forth gradually — will have the effect of making one post- 
card slowly dissolve from view, and give place to the reflection of 
the other. 

The back of the show being in complete darkness, the glass acts as 
a perfect mirror, and whilst the audience are gazing at the reflection 
of the first card, a fresh view may be substituted for that at the back, 
without their being aware of the change. 

Having accomplished this, the showman must uncover the second 
lamp and push down the shutter of the first. The result will be that 
the reflected view fades from sight, and the fresh picture postcard 
is displayed. 

It is then a simple matter to slip the card already used from its 
position between the glass and stage front, and insert another in its 
place. 

In this manner a succession of views may be made to dissolve into 
one another. 

As has already been mentioned, there is no limit to the dimensions 
of such a show — the showman being guided by the size of the pictures 
he is able to obtain. Picture postcards are always procurable, and no 
difficulty should be experienced in obtaining slightly larger views from 
magazines, art catalogues, &c. 

Of course, in the very large shows a much brighter light is required, 
and four lamps must be used instead of two. 



CHAPTER XLVIII 



INDOOR FIREWORKS 



Without the Use of Explosives 



A firework display without 

saltpeter is somewhat unusual. 

a display, and to do so without 




Fig. i. — Showing frame and side wings 



The question of dimensions rests 
Fig. i shows a diagram of the frame, 
divided into two compartments, A and 
B, is occupied by a scene of some Exposition Building 



the employment of brimstone and 

But it is quite possible to give such 

the heavy expense usually 

attending Fourth of July 

pyrotechnics. 

It is first necessary to 
make a frame or " stage," 
upon which to present the 
firework display. In ap- 
pearance this frame greatly 
resembles a three-winged 
clothes-horse; in fact, one 
of these humble home 
" thoroughbreds " may, 

after slight alteration, be 
easily pressed into service, 
entirely with the exhibitor. 
As will be seen, its front is 
B. The lower compartment, 
This must 



be made of cardboard, and can either be permanently nailed to 
the frame, or so constructed as to slide in and out between two grooves. 
The advantage of the latter mode of fixture is that when the owner 
of the firework show tires of one scene he can readily substitute 
another. 

To represent the windows and glass domes of the Exposition Build- 
ing, small squares should be cut from the cardboard scene and tissue 
paper pasted over them. When a light is placed behind, the effect will 
be very pleasing, and will considerably enhance the reality of the fire- 
work display. 

After draping the two side wings (C and D, Fig. i) with red or 
green cloth, the framework or " stage " may be set aside, and attention 

400 



INDOOR FIREWORKS 401 

paid to the fireworks themselves. They are by no means of a character 
calculated to send cold shivers down the backs of timid parents. Fig. 2 
shows a portion of one. It simply consists of a piece of cardboard, 
slightly larger than the top frame (A, Fig. 1). . 

A design similar to that in the diagram must be lightly penciled 
upon it. Then, with a rather coarse needle, prick out this design with 
a series of small holes, through which the light can easily penetrate. 
It is also necessary to make four larger holes at each corner of the 
card, and to drive four wooden pegs or nails into the corresponding 





Fig. 2. — Showing firework design formed 
by series of small holes. 



Fig. 3. — Revolving wheel, spaces 
fitted with colored tissue paper. 



corners of the frame. By means of these the cardboard design can be 
quickly removed from or fixed to the " stage." (See D, Fig. 4.) 

From another piece of cardboard cut out a wheel about 6 inches 
in diameter, and of the shape shown in Fig. 3. The numerous spaces 
between the spokes should be filled with pieces of transparent tissue 
paper of various colors. 

A small stand upon which this wheel can revolve is the next requi- 
site. This simply consists of a flat wooden base, with two wooden 
uprights glued firmly upon it. These uprights are connected at one 
extremity by a short piece of wire — an ordinary pin will serve the 
purpose excellently — forming an axle for the cardboard to revolve upon. 
Fig. 3 makes this quite clear. 

Now to test the effect of the first firework. 

Fix the cardboard design in the upper portion of the frame, and 
stand the whole upon a table. Then take a magic lantern (B, Fig. 4), 



4 02 HOME FUN 

or, failing this, a bull's-eye lantern or cycle lamp, and focus its rays 
upon the cardboard design. Next place the "wheel" (C, Fig. 4) in 
such a position that the beam of light shines through one of the tissue 
paper films, and then continues its original course to the screen. 

When everything is in position, the room in which the display 
is to take place must be darkened. Having done this, grip the 





Fig. 4. — Firework apparatus complete. 



edge of the " wheel " by the thumb and forefinger, and spin it sharply 
round. 

As it swiftly revolves various colored beams of light will be thrown 
in rapid succession on the cardboard screen, and, penetrating the minute 
holes, will present the appearance of a fountain of brilliant, life-endowed 
sparks. 



The Firework Boxers 

But our firework show gives scope for far better effects even than 
this. Some time ago great surprise was caused at an exhibition by 
the production of a firework boxer. With a little care and in- 
genuity, the same surprising result may be produced in the follow- 
ing manner : — ■ 

By means of a needle prick out two boxers in a defensive posi- 
tion (C and D, Fig. 5). The others must then be designed; only in 
this case, one boxer is administering the coup de grace to his unfortunate 
opponent. 

Two grooved strips of wood are next glued to the top and bottom, 
as shown at A, Fig. 5, and two pieces of cardboard slid between them 
(B, B). These two cards should then be connected by three pieces of 
wire, as shown in the diagram, and have their corners rounded off in 
order to insure free movement in the grooves. 



INDOOR FIREWORKS 403 

By pulling the left wire one pair of figures is hidden and the other 
revealed. Thus we have two firework boxers, who will fight a short 
but decisive contest. 

There is another type of " indoor firework " working on the same 



? — v^ 

W 



! .' ; 1 



W 






H ?! 

i 1 ! / 

• / .* • 



D .. 

\ 1 M 



c< u 



Fig. 5. — The firework boxers. 

principle as the above. A reference to Fig. 6 will put the exhibitor in 
possession of all its details. 

At first only the central " Catherine wheel " is seen by the 



I 



«>* 



fc 



ft 

b 

ill 
Hi 

M 
II 
H 



'.'{ 
iV^ 






D d 



.7. ;*r ti*^ 



• 1 .• 



f 



.-.v 



^ \\U' fy 
Ull 

til. 

ill 

'•I 
i' 



Fig. 6. — Another type of indoor fireworks with changing views. 



audience. Then, on the wire to the left being pulled, and the card- 
board to which it is attached raised, a fountain of fire shoots into 
the air and bursts into a number of stars. A similar occurrence takes 
place on the right, and by pulling the central wire the " Catherine 



4 o 4 HOME FUN 

wheel " is made suddenly to vanish and give place to the spectacle 
depicted at D. 

Care should be taken when manipulating these " mechanical " fire- 
works that the hand does not come between the light and the frame- 
work. 

Of course, on the above principles, numerous other designs may be 
made for the show, and a stock of " fireworks " manufactured that will 
dwarf any supply. 



CHAPTER XLIX 

HOW TO MAKE A TELEPHONE 

For Use at Home 

It is quite easy to make a telephone, which besides affording- amuse- 
ment, will, at times, be found extremely useful. Fitted from the ground 
floor to the rooms above, or from your friend's house to your 
own, it is impossible to overestimate its con- 
venience. 

Of course it is quite possible to buy the parts 
of a telephone ready made and fitted together, 
but it is much more interesting to construct the 
apparatus yourself. 

The whole affair is so easily and cheaply 
made that no difficulty can possibly be ex- 
perienced, and you have only to exercise care in 
order to succeed in constructing a very handy 
and interesting machine. 



B 



u 




Fig. la. — Section of case. 




Fig. ib. — Magnet case. 



For the apparatus to be of any practical use, a pair of receivers are 
required — one for the person speaking, and the other for the person 
listening. 

405 



4 o6 HOME FUN 

First of all purchase two bar-magnets, i.e. straight and magnetized 
at one end only — not the ordinary horse-shoe magnets. These bar- 
magnets should be about four inches long, and can be bought from 
any electrician; at the same time obtain from him an ounce of silk- 
covered wire, No. 36. 

Before taking the magnets from the shop it would be as well to 
test them. This can be done by placing the marked end of one to the 
unmarked end of the other, and unless the former is able to support 
the weight of the latter, do not take either, but insist upon the electrician 
giving you stronger ones. 

Having made your purchase, set to work upon the actual apparatus. 
The first things to be made are the wooden cases for the magnets, and 
these require care in construction. 

From a straight broom-handle cut of! two lengths, each a little 
longer than the magnets, i.e. about 4^ inches long, and split them 
carefully down the middle with a chisel. Along the center of each 
of these halves cut a groove (B, Fig. la), in such a manner that when 
the two halves are put together they fit properly, and there is room 
for the magnet to slip backwards and forwards in the hole running 
through them. Now glue the parts together and you will have two 
short wooden tubes, or magnet cases, as shown in Fig. lb. 

Making Mouthpieces 

Having made the cases for the magnets, now make the mouthpieces. 
Procure two wooden boxes such as boot-buttons are sold in, and glue 
one to the end of each of the wooden tubes you have just made, cutting 
a hole in the bottom of the box to correspond with the bore of the 
case. In Fig. la you will see the work, so far as you have completed it, 
shown in section. In the lid of the box cut a clean hole the size of 
a dime right in the center, but this lid must not be fastened to the 
box just yet. 

The next things to be made are two bobbins upon which to wind 
the wire — one for each instrument. Cut a piece of fairly strong card- 
board about J4~inch wide and just large enough in circumference to fit 
the marked end of the magnets tightly. Divide your No. 36 wire into 
two equal lengths, and wind each piece around the bobbins, leaving the 
two ends free to the length of about two inches. 

Next slip the magnet, M, into the groove, and push it through so 
that the bobbin, L, is contained in the box C, Fig. 2. Make two holes 
in the bottom of this box, pass the ends of the wires through them 
and fasten them with binding screws, as in the illustration 
H, Fig. 2. 



HOW TO MAKE A TELEPHONE 407 

The thin plate which vibrates with the voice must next be made. 
Obtain a smooth piece of very thin sheet-iron — of just such a texture 





S-i 3 * 1 



A 



Fig. 2. 



-Arrangement of 
magnet. 



Fig. 3. — Section of completed 
instrument. 



as is used by photographers for ferrotypes. Take the greatest care to 
keep this perfectly flat. Cut two round pieces large enough to cover 
the mouthpieces as you will see in P, Fig. 3, where it is shown in 




Fig. 4. — Connection with battery. 



section. Take the lid in which you have already cut the circular hole 
and fasten it to the box in such a way that it keeps the iron plate in 
position (Q, Fig. 3). 

Push the magnet very close to, but not quite touching, the disc of 



4 o8 HOME FUN 

iron — say i-i6th of an inch away, and fasten it in that position, either 
by means of a wooden plug at the other end, or by driving a screw into 
the case in such a way that it grips the magnet and holds it firm 
(S, Fig. 3). Fill up the hole at the other end of the case with a piece 
of cork, glue or screw on the lid, keeping the opening so that it almost 
touches the iron disc, and your telephone is complete. Fig. 3 shows 

in section how it should now 
appear. 

It remains only to make 
the connections with the bat- 
teries in the manner shown in 
Fig. 4, and you will be able 
to speak with your telephone. 
It is very possible, however, 
that the voice will carry faintly, 
but do not be disappointed, as 
this can be very easily remedied 




i\SSr<J^ 



D 

vzzzzzzzzzzz zzzzzzzz 



'' \tfJlSLs fry ma king an apparatus which 

^y^]//j,\ q is usually attached to the tele 



phone, and is known as 



The Microphone 



A 



E 



This instrument, as its 
name implies, serves to make 
small sounds greater. Besides 
being useful in conjunction 
with a telephone, it is also of 
interest in itself. 

Make a base, BC, and an 
upright, A, from a piece of 
thin pine wood, as shown in 
Fig. 5. Buy from the elec- 
trician two blocks of carbon 
such as are used in batteries 

(these will cost but a few cents), each measuring about a cubic inch. 

In one side of each of these blocks fasten a long binding screw, whilst 

in an adjacent side make a hollow with a rat-tailed file or a penknife. 

Then get a small pencil of charcoal such as is used in the large arc 

lamp, and cut off a piece 4 inches long; file both ends to a point in 

the way that you sharpen a pencil (E, Fig. 5). 

Having made these various parts, fit them together. Screw the 

two pieces of carbon to the upright in such a way that one rests 



E 
V 



Fig. 5. — Sectional view of microphone. 



HOW TO MAKE A TELEPHONE 409 

upon the base whilst the other is at such a height that the char- 
coal pencil rests lightly in the hollows, between the two carbons, as in 
DD, Fig. 5. 

The microphone is now 
complete, and can be attached 
to the telephone as shown in 
Fig. 6. It will be found to 
increase the sound to such an 
extent that your voice will be 
distinctly audible, and conver- 
sation perfectly clear. 

By attaching one receiver 
and the battery to the micro- 
phone as shown in Fig. 7, very 

slight sounds will be increased Fig. 6.— Connection of microphone and telephone, 
to an extraordinary degree. 

The ticking of a watch seems like so many heavy footfalls, and if you 
can succeed in getting a fly to walk across the sounding-board, as 
the base is called the footsteps will be plainly heard. Many interest- 





Fig. 7. — Experiment with microphone. 



ing experiments can be performed in this manner, and as the micro- 
phone is so easily made, it is well worth constructing one for the sake 
of such experiments alone. 



CHAPTER L 

TELEGRAPHY AT HOME 

A Galvanometer Adapted 

Like most of the inventions that have revolutionized the world, the 
electric telegraph is constructed upon the simplest principles. 

As will be shown, an instrument for transmitting and receiving 
messages can easily be made at a very small cost by any one prepared 
to devote a little care to its construction; and when completed it will 
be found of considerable use and convenience. 

To make a model of the elaborate machines now employed, which 
not only receive but print messages in legible Roman characters, 
would be far beyond the scope of any amateur, necessitating the 
purchase of many costly parts and requiring a considerable knowl- 
edge of engineering to fit them satisfactorily together. But the 
instrument that can be made according to the following instructions, 
is exactly similar to those in use throughout many smaller offices the 
world over. 

The telegraph is based upon the following principle. A current of 
electricity, passed through a hoop of wire within which a needle is 
suspended, will move that needle from left to right, or from right to 
left, according as the wires are attached to one or other of the poles 
of a battery. This simple apparatus is called a galvanometer. A tele- 
graph instrument is nothing but a galvanometer adapted to convenient 
usage. 

Before entering upon the method of construction, it would be as 
well to inform whoever undertakes this work that the utmost care is 
necessary in adjusting the various parts. The slightest fault will cer- 
tainly spoil the whole instrument, and the least carelessness render all 
the labor expended utterly useless. 

Now to describe the simplest way to make a receiver and trans- 
mitter. 

Three pieces of wood will be required, a cigar-box furnishing the 
best material for the purpose; if you have not one at home, any to- 
bacconist will let you have one for a few cents. 

To commence with the base. Cut a piece of wood measuring 6 

410 



TELEGRAPHY AT HOME 



411 



inches by 5 inches. In this two grooves must be made (D D and E) 
according to the measurements shown in A, Fig. 1. The width of 
these grooves must, of course, depend upon the thickness of the wood, 
for the dial and the upright will have to be fitted into them. 

For the dial you will require a piece of wood similar to the base, 
but measuring 5 inches by 4 inches. One end of this should be 
rounded as shown in B, Fig. 1. Drill a hole (F) right through this 








* 

K 



110 



«■/ 



A. — Base of instrument. 



Fig. 



C— Upright. 



dial, 3 inches from the bottom and 2]/ 2 inches from either side. As a 
piece of wire will have to revolve easily in this hole, take great care 
to cut it cleanly. In the lower end of the dial cut out two notches 
(G H), each according to the measurements in B, Fig. 1, i.e. 24 -inch 
deep and y 2 -inch wide. Each notch must be ^4-inch from its side of 
the dial. 

The upright is very easily made, being simply a strip of wood 3*^2 
inches by 1 inch (C, Fig. 1). In this drill a hole (K) 3 inches from 
the end and y 2 -'mch from either side, taking the same care as with the 
hole in the dial. 

Having thus prepared the several pieces of the framework, the dial 
should be glued into its groove. A small square block of wood glued 
into the angle formed by the base and the dial will insure the latter's 
being perfectly perpendicular. The upright will be fixed in its place 
later. 

To proceed with the more delicate part of the work. Cut a piece 
of cardboard, fairly thin in texture, 5 inches long and 1 inch wide, and 



4 i2 HOME FUN 

bend it into the shape of an oblong hoop. Upo'n the hoop or bobbin 
wind about half an ounce of fine cotton-covered copper wire, size No. 
36, which can be obtained from any electrician. Wind this wire very 
carefully and evenly, but not tightly, leaving about 4 inches free at 
either end (A, Fig. 2). 

The next thing to be made is a magnetized needle, which can be 
easily done as follows. Take a piece of ordinary watch spring, an 
inch long, and make it red hot. When in this condition drill a hole 
through the center, and when it is cooler round the ends, as in B, Fig. 2. 
Heat it once more to a red heat and then plunge into cold water to 
harden. The needle must now be magnetized by being drawn several 
times firmly across the pole of a strong magnet, care being taken that 
it is always drawn in the same direction. 

The pointer (C, Fig. 2) should be made in a similar manner, except 
that it must not be magnetized, and should be at least twice as large as 






A.— Coil of wire. B.— Magnetized needle. C. — Pointer. 

FlG. 2. 

the needle. Through the hole in the magnetized needle pass a couple 
of inches of straight stout wire, and with a little solder, or even sealing- 
wax, fasten the needle as shown in B, Fig. 2. 

All these parts can now be fixed together. In the middle of the 
broad side of the coil of wire you must push aside the strands in such 
a manner that holes can be made through the cardboard hoop. Pass 
the two ends of the thick wire, to which the needle is attached through 
these holes, so that the needle is then suspended within the coil. Take 
care to make these holes large enough to allow the axles of the needle 
to revolve freely, as the whole success of your apparatus depends upon 
the needle turning easily within the coil, which should now appear as 
in Fig. 3. 

Fasten the coil upon the back of the dial, one end of the pro- 
truding axle passing through the hole you have already made in the 



TELEGRAPHY AT HOME 413 

wood. Then glue the upright firmly in its groove, with the other 

end of the axle through its corresponding hole. Take great care that 

the needle can revolve freely 

within the coil. Fasten the 

pointer to the end of the axle 

passing through the dial, and 

in this latter drive two pins or 

wooden pegs (P P) on either 

side of the pointer, in order 

that it may only move within 

a limited arc (B, Fig. 1). 

Testing 

It would now be as well 
to test what you have already £ 
done. Connect the loose ends 
of the coil to the poles of a 
battery, reverse them, and repeat this two or three times. If the 
instrument has been properly made, the needle should swing to the 
left when the wires are connected in one way; to the right when they 
are reversed. 

Nothing more remains to be done but to make the keyboard, which 
is really the base of the instrument you have just been constructing. 




Fig. 3. — Revolving needle in coil. 




Fig. 4. — The keyboard. 



A glance at Fig. 4 shows how this is to be done. C and D are two 
thin brass springs, 5 inches long, and, as they have to pass through 
the notches in the dial, less than half an inch in width, they must 
be bent upwards, so that when fastened to the board at C and D 



4H HOME FUN 

the opposite ends will spring up and press against the under side 
of the metal bridge BF. They are then in what is called " metallic 
contact." 

The bridge should be made from a piece similar to the springs 
and bent as shown in Fig. 5. Another strip of brass must be screwed 




Fig. 5. — The instruments ready for use. 

flat to the board at AE, parallel to BF, and over this a couple of 
wooden or ivory knobs should be fastened to the springs, as they are 
used to press down CD in contact with AE (Fig. 4). When released 
they should fly back to BF. Be very careful to see that all these details 
are thoroughly in order, as they form the most vital part of the 
keyboard. 



Message Transmitting 

At the ends CD of the springs fasten two binding screws, and do 
the same at A and B. Fasten the two loose ends from the coil to C 
and D, and attach the wires from the battery to A and B. Now is the 
time to see whether your machine has been properly made. By pressing 
down one key you will find that the current of electricity deflects the 
needle and the pointer -to one side, and by releasing this key and pressing 
the other one, the pointer will swing down to the other side. If this is 
done satisfactorily your telegraph instrument is complete, and with a 
couple of them you will be able to send messages from one room, or one 
house, to another. 

The complete apparatus should appear as in Fig. 5, which also shows 
the connections with the battery. 

A couple of Daniels' cells, or two ordinary dry batteries are sufficient 
to work both instruments. 

Two copies of the Morse alphabet should also be made, one to 



TELEGRAPHY AT HOME 415 

be kept by the side of each machine. When the needle deflects 
to the left it designates a dot. When it turns to the right it is 
a dash. A short space separates the letters, and a longer one the 
words. 

When the alphabet has been mastered both for transmitting and 
receiving, the use of your telegraph will be a matter of the greatest 
simplicity, and you will be able to send messages with considerable 
speed to your friend at the other end of the line. Below, the Morse 
alphabet is given, as well as a message, which it is hoped you will be 
able to send. 



Morse Alphabet 

A H — - O V 

B I -- P W 

D K B Y 

E - L S — Z 

p M T 

G N U 



Message 



CHAPTER LI 

ELEMENTARY HYPNOTISM 

The Mysteries and Marvels of " Under-Sleep " 

The term " Hypnotism " is defined in Nuttall as " an artificially in- 
duced state of sleep," and is of Greek origin, the prefix " hypo " 
signifying- " under " or " beneath," and the Greek root " hypnos," 
sleep. 

Hypnotic, or " under-sleep " conditions, may be induced in several 
ways, and are not limited to the best-known method, that of absorbing 
the attention of the subject by means of an object; for oblivion may be 
caused quite as successfully by means of the sense of touch as in gentle 
continuous stroking, pressure of the skin, by the motion of the hands 
over the body without touch, or by soothing words, which, accompanied 
by the penetrating magnetism of the eye, convey hints or suggestions to 
the intelligence. 

Methods of hypnotism may be divided into two classes : — 

i. The Mental Method — which directs the subject's imagination and 
senses to co-operation, creates an image in his mind, thrusts the 
dormant brain into a totally different environment from that to which it 
is accustomed, renders it extraordinarily hypersensitive to suggestion, 
and unfolds experiences probably hitherto unique, at the will of the 
exponent. 

2. The Physiological Method — that steeps the faculties in oblivion as 
completely as when chloroform is administered. 

This latter form is often used as a therapeutic means of securing 
rest and relief from pain. It has been proved that individual 
character takes a far greater part in the mental method than the 
physiological. 

When an object is used to induce hypnosis, it is held at a distance of 
about eight inches from the eyes, and removed gradually to a foot above 
the forehead (Fig. i). 

During this process the gaze should follow the slowly moving 
object until the lids are strained to their widest extent (Fig. la). 
This position naturally fatigues the eyeballs and causes the lids to close 
swiftly. 

416 






,\ 



is heavy. Your rt.J.-Vi \ ^ 
fatigued. You J "--.Jjf |k \ 




ELEMENTARY HYPNOTISM 417 

It is not essential that a glittering object be used. It has been 
found that the finger of the operator, moved gradually, is as suc- 
cessful a means as any object. Should the hypnotizer desire to enforce 
slumber, he may accom- 
pany his action with sug- 
gestions that the subject 
is extremely tired and 
longing for sleep. 

" You are worn-out. 
Your head 
limbs are 

need rest. Sleep is essen- 
tial. You are gradually 1 
falling asleep." 1 

Before hypnotism can 1 
take place, the patient ■ 
makes his mind a perfect • 
blank, and concentrates • 
his whole being and vision 
on the button, coin, glass, 
or crystal held before him. 
It will now be seen that 

his eyes begin to water, the pupils undergoing a series of changes, 
contracting, dilating, and recontracting, as if he were succumbing 
to natural slumber. His sight becomes gradually insensible to the 
t light, and in a few moments he is un- 

conscious. 

The state of hypnotism begins with the 
second narrowing of the pupil, and is accom- 
panied by a quickening or retarding of the 
pulse, rigidity of body and heaviness of brain, 
which becomes chaotic and wildly confused 
before the final stage is reached. The will is 
entirely surrendered to the hypnotizer, and the 
subject is powerless to move, speak, or feel, 
except at his suggestion. 

A sure test that the individual experimented 

upon is really oblivious to everything about 

him is shown when the operator gently moves 

his arms from his side in a horizontal position 

and lifts his eyelid. When the arms remain rigidly outstretched and 

the eyeball is fixed and glassy, the exponent is assured that his subject 

is completely at his mercy (Fig. 2). 



Fig. 1. — Range of object to induce hypnotic sleep. 




Fig. \a. — Gazing with eyelids 
open to widest extent. 






^ 




Fig. 2. — The subject, when hypnosis is complete. 



418 HOME FUN 

In order to bring about this condition successfully, the hypnotizer 
must possess no small amount of cultured will-power and concentra- 
tion. His mind must be absorbed in the experiment as wholly as the 
subject's faculties are concentrated upon him. He is now forcing his 

brain to act at his dictation, 
not only upon his own move- 
ments, but upon those of the 
individual chained to him by 
his exertion of hypnotic in- 
fluence. One mind operates 
them both, and, during his 
subject's trance, he has as 
complete a sway over his 
nervous system as if he pos- 
sessed two bodies and a double 
supply of arms and legs. 

The eyes, whether closed 
or widely open, are focused 
on his brain, insensate of everything beyond the compelling force creat- 
ing his thoughts. He can hear sounds, smell, taste, see, talk, or remain 
silent — only in obedience to that petrifying will. 

Of every movement of our bodies, the brain is supreme operator. 
The code of suggestion is flashed through telegraph wires composed 
of nerves and muscles. No turn of the head, twitch of the finger, beat 
of the heart, can take place without the coalition of those wonderful 
brain-cells. When an individual is stricken with paralysis, and has lost 
all power over his limbs, it is not because his bodily organs are injured. 
Impotence is caused by the fact that his brain has lost its ability to 
exert its power over his organs. 

The wheels of a brain, however carefully oiled and cleaned, remain 
motionless unless the engine fires are lit; and, in hypnotism, helpless- 
ness is not brought about by the mastery of the exponent over every 
separate joint and muscle (for it would be absolutely useless, even 
were it possible, for him to concentrate his attention on every minute 
movement of the body), but simply because he is robbing the brain of 
its individual control, and is exerting his own will to dominate the pur- 
pose and identity of his subject as relentlessly as the magnet dominates 
the needle. 

Weak-willed Subjects not Essential 

Some subjects are less amenable to hypnotic influence than others. 
The belief that those of weak will are the easiest prey is a fallacy. 
The real reason lies in the fact that the individual is incapable of 



ELEMENTARY HYPNOTISM 419 

concentrating his will in obedience to the dominating mind. This is 
generally the case with persons inclined to hysteria or of neurotic tem- 
perament, and for such, a revolving glass is the best object to be gazed 
upon, as it wearies the eye and induces slumber without the need of 
concentration or surrender of will. 

There are others who cannot easily be hypnotized because they deter- 
minedly set themselves to oppose the purpose of the operator to 
such an extent that his brain 
becomes exhausted in the proc- 
ess and loses its potency. In 
such cases the best plan is for 
the hypnotizer to inspire faith 
by means of experiments per- 
formed over other individuals 
in the presence of the resisting 
or cynical, until the incredulous 
are convinced that the hypnotic 
influence is not induced by 
trickery or confederacy. The 
influence of imitation is an im- 
portant factor in hypnotism, and 
faith once founded does a great 
deal to overcome defiant wills. 

It has been found that some 
of the best results have been 
those when the subject is taken 
completely by surprise. 

The motion of the hands 
often brings about unconscious- 
ness as swiftly as when an ob- 
ject is used. The hypnotizer 
should stand a few paces from 
the subject, gaze into his eyes, 

and with hands raised sweep them gently in continual passes over the 
body, reaching from above the head to below the hips. This action should 
be continued without a pause for some minutes, the hands sweeping 
across the face, as near as possible without touching it (Fig. 3). The 
motion may also be performed at the back of the subject (Fig. 3a). 

The body will gradually sway backwards or forwards, the gaze 
become fixed and lifeless until the subject's will is surrendered, when, 
by withdrawing a few paces and raising a finger, the exponent will be 
able to draw him in any direction he wishes. 

The power of hand motion has been explained as due to stimula- 




Fig. 3. — Motion of hands " before " subject. 



420 HOME FUN 

tion over those zones of the body most susceptible to hypnotic in- 
fluence, or the slight motion of the air, or mental influence. It is 
probable that all these influences combine, the most important being the 
mental influence. 

The idea that the hypnotizer possesses some magnetic fluid which 
passes from him to the subject in the process of hypnotism has been 
proved to be without any foundation, and is merely a foolish super- 
stition. There is nothing 
mysterious or supernatural 
in the influence of this 
power. It is due entirely 
to the exertion of mental 
force and the involuntary 
co-operation of the indi- 
vidual hypnotized. 

Performance of hypno- 
tism in a drawing-room is 
not difficult, although, like 
everything else, it needs 
practice and perseverance 
before it can be success- 
fully accomplished ; and, 
unless the mind of the 
hypnotizer is disciplined to 
determination and control, 
it naturally fails to act upon 
other minds. 

Now, provided that the 
student has some knowledge 
of the subject, and has 
trained himself to keep his 
attention fixed, to the ex- 
clusion of everything else, 
upon the matter in hand, a few experiments may be undertaken. Ele- 
mentary ones should be essayed at first. 

Fix upon an individual among your onlookers. Ask him to with- 
draw for a moment or two, while you and your friends decide what 
he shall accomplish. However simple the action, every mind must be 
concentrated upon it, and there must be no laughing or talking. 

If you know something of the character and temperament of the 
subject chosen, this will aid you considerably. He should have faith 
in your power, and willingly surrender his will to your control. As 
an aid to concentration, request him to close his eyes; or, better still, 




Fig. sa. — Motion of hands "behind" subject. 



ELEMENTARY HYPNOTISM 421 

blindfold them. Next turn him round several times, taking care not 
to induce giddiness. Your only reason for doing this is to shut out 
all objects that may draw his thoughts from your purpose. 

Place the tips of your fingers lightly on his shoulders, but do not 
push him forward (Fig. 4). He must move only when he feels the 
impulse of your will impelling him with sufficient force to render 
resistance difficult or impossible. He will probably stand motionless 
for a few moments, and this is 
when spectators are inclined to 
giggle a little, just as when, for 
no particular reason, one's risi- 
bilities are stirred while being 
posed before a camera. 

If, however, the slightest 
sound intrudes upon the silence, 
the growing spell will be broken, 
for it at once disturbs the train 
of thought surrounding the sub- 
ject, and draws his attention from 
your will. Silence is absolutely 
essential, for it has almost as 
powerful an influence as the 
strongest will. 

This gained, you will feel 
your subject sway a little under 
your fingers before he goes 
slowly and unhesitatingly for- 
ward, feeling his way with out- 
stretched hands, and walking 
with the peculiar tread of a 

somnambulist, until he unerringly picks up the photograph, takes a 
pin from the curtain, removes a flower from a vase and places it in 
his button-hole, or any other trivial act you have fixed upon. Then 
he will pause, as if in relief that the deed is accomplished. 

Only one action should be decided upon at a time — the simpler the 
better to begin with. 

As you excel in this form of hypnotism, you may try more compli- 
cated experiments, but not until you have overcome the rudimentary 
difficulties and have developed your powers to such an extent that you 
have absolute faith in your ability, for self-reliance and self-confidence 
are the corner-stones of hypnotism. 




Fig. 4. — Inducing hypnotic sleep. 



422 HOME FUN 



AUTO-SUGGESTION OR SELF-HYPNOSIS 

111 order to cultivate these, experiment upon yourself by the means 
of auto-suggestion or self-hypnosis, which is a splendid means of train- 
ing those faculties necessary to the mastery of other minds. 

Change your state by means of words which imply a condition either 
mental or physical not personally experienced by you, and believe im- 
plicitly in your own ideas. Treat yourself exactly as if you were 
experimenting on another individual, surrendering your subjective and 
objective mind wholly to absorb the idea conveyed, and gradually its 
meaning will influence and take possession of your brain to the exclusion 
of everything else. 

The change suggested should be exactly opposite to your natural 
state — for instance, if you are warm, tell yourself determinedly that 
you are cold until you credit the fact, when your body, which blindly 
follows mind and will, experiences the sensation of cold. 

If you have a headache, suggest that the pain has gone, &c. Auto- 
suggestion may be perfected to such an extent, that, under its hypnotic 
trance, a needle may be plunged into the skin without the action's caus- 
ing the slightest degree of pain. 

In suggestion, it is always the subjective mind that is swayed by 
hypnotic influence. This is always keenly alive, and it is through its 
medium that the subject is induced to an extraordinary power of imagin- 
ing and experiencing the processes suggested by the hypnotizer. 

Elementary exhibitions are very entertaining, and are quite sufficient 
to illustrate the motive power which achieves your purpose. Some in- 
dividuals are better hypnotists than others, because they have a natural 
supply of animal magnetism at their disposal, but it is extraordinary 
what results can be brought about by study and patience, so that students 
less gifted need not despair of success. 

For the sake of those who have succeeded in such simple experiments 
as the foregoing, the following may be undertaken. In these, intuition, 
sympathy, and imagination play almost as important a part as thought- 
ful concentration, which is ever the most powerful possession in the 
outfit of the hypnotizer. 

Here, one word as to the difference between the terms hypnotist and 
hypnotizer. The former is a scientist, who employs his art solely for 
therapeutic or medicinal purposes. The latter is the entertainer, and 
care should be taken to distinguish between the two words. 

Experiment. — Place the subject in a chair, with palms on knees. 
Pass your hands over him for a space of several minutes, the while 
his eyes are fastened on your own. Watch his expression carefully. 



ELEMENTARY HYPNOTISM 423 

It undergoes several changes, the individual character dominating 
(Fig. 5), gradually disappears, and finally gives place to vacancy 
(Fig. 5a). The firm lines of the mouth fade, and the lips become 
slightly parted. The face grows blank and purposeless, the eyes staring 
and void. 

You have some plan in your mind which you are straining to 
impress on his brain. Supposing it is that he shall not remove his 
hands from his knees. Say to him, in a low soothing voice, which 
penetrates his hearing perfectly (to shout, breaks the spell in a moment), 





Fig. 5. — Face showing character 
before hypnotic sleep. 



Fig. 5a. — Face showing vacancy 
under hypnotic sleep. 



" Your hands are stuck to your knees ; you cannot remove them. They're 
glued; they're tight fast. Do what you will, you can't lift them. Now 
try " 

At your dictation he endeavors to do so. He lifts his knees. He 
ducks his head, trying to push his hands away by means of his chin, 
but every effort is futile until you say, " You can now remove your 
hands. See, it is quite easy, they are free ! " At once he lifts them 
easily. 

Now ask him his name. He tells you in a dazed, obedient voice 
that it is " John Jones." You determine he shall forget his name. 
You say to him again and again, " You have forgotten your name. 
You cannot tell me what it is. You don't know your own name; you 
can't remember." 

The subject's face at once indicates that he is absolutely nonplused. 
He struggles to remember, but in vain. Should you suggest that his 
name is Mary Smith, he will believe you implicitly, and, with a relieved 
expression, declare this name to be his own. 

Bid him open his mouth as wide as he can. Then say to him, 



424 HOME FUN 

" You can't shut your mouth. It is fixed, rigid. Try to shut it." He 
vainly endeavors to do so. He places one hand on his head, the other 
on his lower jaw, and tries to force his lips together, but he is powerless 
so long as your will opposes him. When you command him to shut 
his mouth, he does so without effort. 

A subject should not be kept longer than a few moments in this 
subservience to your will. He can be released by a snap of your fingers 
at his ears or before his eyes. Address him softly by his name, and 
he will return to consciousness in an instant. When he looks dazedly 




Fig. 6. — Awakening the subject. 



round, reassure him, kindly, that he is quite well, and will suffer no 
harmful results from your experiments. 

The hypnotizer should never abuse his power over an individual. 
He must possess sufficient humanity to prevent him from keeping his 
subject too long under control. 

When he finds a subject who answers readily and quickly to the 
hypnotic influence, he may be tempted to continue an exhibition of his 
powers in order not to lose time on less amenable individuals, but he 
should determinedly resist this temptation. 

A valuable aid for him will be to time his experiments by a watch, 
limiting each individual's trance to a space of, at most, four minutes' 
duration. 

The hypnotizer must be in perfect health, for, unless his body, 



ELEMENTARY HYPNOTISM 425 

nerves, and mind are in proper condition, the supply of animal mag- 
netism fails. He must study hygiene, take sufficient exercise, and be 
most particular to keep his body, linen, hair, and finger-nails scrupu- 
lously clean. 

A dirty finger, held up before a subject undergoing the hypnotic 
trance, inspires the latter with a revolting sense of disgust, and clouds 
the vision conjured by the brain. 

The hypnotic entertainer should abstain from any indulgences, and 
eat only plain, wholesome food. During the process of hypnotism, the 
exponent should never lose his head or self-reliance. Any dread experi- 
enced by him is at once conveyed to the subject. Should the latter be 
unable to awake from the trance at command, the operator must wave 
his handkerchief before his eyes. If these are closed and refuse to 
open, he must at once rub the eyebrows with the tips of his fingers, 
beginning at the root of the nose, and ending at the temples, terminating 
this action by gentle fanning or blowing until such efforts meet with 
success (Fig. 6). 

It should always be remembered by the student that the power of 
hypnotism — like fire — is a good servant, but a bad, tyrannical, and law- 
less master, unless properly controlled. 



CHAPTER LII 

THE POWERS AND MYSTERIES OF CLAIRVOYANCE 

Marvels of the " Sixth " Sense 

Clairvoyance, originally a French word, means the ability to see clearly. 
The reason so few people possess this extraordinary psychic faculty, is 
because most human beings are three-quarter parts blind, deaf, and 
insensate to anything beyond the ordinary emotions. 

The power of prophecy and acute intuition is a sixth sense which 
most of us have in a slight degree dormant and uncultivated. 

Clairvoyance has often been mistaken for superstition or wilfully 
imposed and cunning deceptions, and it is difficult for ignorant and 
cynical people to believe that it is founded on science and truth. 

It has stood firm through the ages in spite of the quackery of 
wizards, paraphernalia of sorcerers (used to inspire fear and awe in 
the uninitiated), the sneers of those of material minds. All of us at 
some time or other have felt the control of that still small voice, potent 
and penetrating as conscience, which comes, unaccompanied by earth- 
quake or fire, to instill us with awe, joy, extreme sadness, or 
warning at some critical juncture of our lives; often anticipating, with 
power greater than speech can convey, some event that concerns our well- 
being. 

Why this power should be deemed more extraordinary or mysterious 
than the senses of sight, hearing, smell, and touch which, even to those 
thoroughly conversant with the anatomy of the human body, remain 
steeped in mystery, it is difficult to say. 

Science teaches that a million delicate sounds escape the ear and 
brain, and as many minute exquisitely fashioned atoms escape the eye. 

A magnifying glass reveals the marvelous structure of insects and 
microbes invisible to naked sight, and it is only by means of a telescope 
that the beauty of the stars is discerned; thus the developed power of 
clairvoyance may be called the magnifying lens of the soul. 

It is because this lens is dull and misty that we fail to see. 

The history of ages and a great deal of our most cherished literature 
prove its existence. 

Many of the stories and prophecies of the Bible are founded on 

426 



MYSTERIES OF CLAIRVOYANCE 427 

clairvoyance. People were simpler and more trusting then; for this 
reason visions and clear sight were granted them. 

Pilate's disregard of the warning conveyed in his wife's dream, af- 
fected the whole course of Christianity, and the Bible abounds with 
examples of the disasters that befell those who disobeyed the spiritual 
promptings sent them. 

This wonderful faculty of inner sight is the possession of the in- 
dividual born blind. He demonstrates its existence when by merely 
passing his fingers over an object he can describe exactly a color he has 
never seen. In him it is nature's recompense, and no one who watches 
his movements can doubt that he is guided by this psychic organism, 
yet when we note the same power granted to a man or woman blessed 
with eyesight, we at once decide that happy coincidence, trickery, or 
charlatanism is the origin of the manifestation. 

Clairvoyance teaches that everybody has a distinctive color, which 
conveys more of character and personality than any word or action. 
The shades of these colors vary according to temperament, and are as 
much concealed from untrained vision as the million tints composing the 
gold, purple, and green bands of the rainbow. 

Optimistic persons emanate a pale blue aura. 

Large-minded progressive persons, a pale green. 

Pessimistic worried persons, gray. 

Ill-health in mind or body, dark green. 

Kindly benevolent, humane persons, pink. 

The thinker and scholar, deep blue. 

The degraded, brown. 

The passionate and bad-tempered, red. 

The ambitious, orange. 

The lover of the beautiful in Art, yellow. 

Keys to Character 

These colors, however, although providing the key to the character, 
are subject to constant changes. Our moods sway and change our 
thoughts according to the happenings that affect us. 

For example, bereavement or anxiety has power to transform the 
blue aura of the optimistic temperament to gray, and this temporary 
change of color studied alone may perplex the clairvoyant, and mislead 
him to a false diagnosis of character. 

In order to prevent this, the seer will do well to request some article 
constantly worn by the inquirer to be handed him; the older and 
shabbier it is the better. A dilapidated glove, an everyday tie or a 



428 HOME FUN 

ring constantly worn are equally valuable by which to discriminate 
between the temporary and habitual aura peculiar to temperament. 
When a man's glove emits a pale blue aura, in contradiction to the gray 
of his own personality, the deduction is that he is naturally of a hopeful 
and cheerful tendency, but that some mental anxiety or bereavement 
causes the gray, deep or pale, according to the depth of emotion dominat- 
ing him. 

The reason of this difference of colors is that the glove is, as it were, 
saturated with the essence of his normal disposition, while the color of 
his character has been changed by circumstances or environment. 

In the brain there exists a small and delicate organ known as the 
pineal gland, and it is thought by some scientists that this is responsible 
for, and sensitive to, the subtle vibrations of ether which are too minute 
to stir the tympanum of the ear. Its cultivation produces the power 
that beholds and distinguishes the difference in shades of mental color 
in which the mind is absorbed. 

People of erratic temperament possess an aura of many and con- 
stantly changing colors, but those whose calm never varies maintain but 
one. 

Some few persons are aware of the tones of their aura, and are 
therefore keenly sensitive to the influence of their surroundings. 

They will be perfectly miserable if the paper on their walls, or the 
material of their clothes, clashes in color with that of their character; 
while they are at their best and happiest surrounded by the tints that 
blend or contrast harmoniously. 

The clairvoyant's outfit consists of six qualities: — 

1. Power of magnetism. 

2. Mental health and influence. 

3. Physical health and cleanliness. 

4. Temperance in food and drink. 

5. The power of discerning the aura and interpreting its colors. 

6. The liberty from all evil or slothful habits. 

In advanced clairvoyance the use of the crystal for vision is desig- 
nated by many seers as " clap-trap " and vulgar " playing to the gallery." 
It is found to be injurious to eyesight and brain centers to gaze at any 
shining article for too long a period, yet in parlor clairvoyance there 
is no doubt that it has great power of inducing concentration of sight 
and thought. 



MYSTERIES OF CLAIRVOYANCE 429 

Crystal Gazing 

By means of crystal scrying the gazer creates and becomes subject 
to the influence of auto-hypnosis — that is, he is able to throw himself 
into a trance which veils his own personality and links him to that of 
his client. 

The surface of the crystal gradually reflects images, and subcon- 
scious impressions conveyed by and vital to the individual whose past, 
present, and future are being revealed. 

Sympathy and intuition merge the soothsayer's aura with the tem- 
peramental coloring of his client. His magnetic force creates further 
powers, while his psychic discernment or sixth sense is the nucleus about 
which these are bound. 

No student of clairvoyance can be successful in discerning character 
and personal emanations of color unless he is disciplined by simple rules 
which should govern his life. 

Excessive eating, drinking, intemperance in any form, self-in- 
dulgence, bad habits, and drugs destroy this delicate sixth sense past 
redemption. 

Want of sincerity and integrity results in the rapid decline of its 
power. 

The body and mind must be pure and of perfect mental and physical 
balance. No nervous fretting or pettiness of outlook should be permitted 
to intrude. 

In clairvoyance the brain is ruled by large and lofty aims, and it 
must be kept as unspotted and clean as a white garment; so only is it 
capable of performing its proper functions. 

Likewise it is essential to remember the important, nay, vital dominion 
it exerts over the body, which cannot rise to perfect beauty and health 
unless its mental orbit is lofty and serene. 

In consulting a clairvoyant the client should be serious, earnest, and 
trustful that he will hear the truth. Frivolity, incredulity, or idle 
curiosity forms as it were a thick crust between the mind of exponent 
and inquirer, which prevents the penetrating of thoughts and vision, 
strains the powers, and results in disappointment. 

In the same spirit in which one visits a doctor or solicitor should 
the clairvoyant be approached, and there must be no determined reserve 
to conceal thoughts and character in the mind. 

Clairvoyance in a drawing-room full of people is extremely difficult 
— indeed impossible, unless the onlookers can be induced to keep perfect 
silence during the operation. 

It is always better to be closeted alone with the inquirer in a small 



430 HOME FUN 

room to which street noises do not penetrate, provided only with the 
necessary furniture, kept clean and fresh, airy, and well lighted. 

The crystal should never be touched by any one save the clairvoyant, 
and must be kept free from spots and smudges. A black silk handker- 
chief round its globe will be a help to divination by preventing the 
reflection of lights. 

There may be, especially to beginners, temptations to pose as the 
possessor of supernatural powers — to make passes over the crystal, light 
wax tapers, burn perfumes, and murmur incantations — but these meth- 
ods, although employed by the ancient prophets, are of no aid to the 
modern sage. Indeed, they do harm by appealing to the senses and 
superstitions, and, being a mere affectation, are unworthy of that sixth 
sense and harmful to it. 

Simple Manifestations Best 

The simpler the manifestation, the more assured the clairvoyant may 
be of arriving at the truth. 

Self-confidence, an absolute belief in his gift, and faith in his meth- 
ods dominate him. 

He does not endeavor to avoid exertion of his nervous forces by 
discreetly " pumping " the inquirer as to ways and means, but takes a 
delight in silent investigation. 

The clairvoyant should come to his task fresh and buoyant, bub- 
bling with enthusiasm, and yet without frivolity or thoughtless mind. 
At the slightest sense of fatigue he should desist from his efforts, 
for it is extremely harmful to apply any force or strain to this abstract 
power. 

Physical fatigue and excitement must be avoided, for these 
engender jangled nerves, sleeplessness, and finally inability to iso- 
late the mind from the orbit of our own concerns to the sphere of 
others. 

The processes that occur in crystal-gazing are thought transference 
and telepathy. A communication of ideas is set up between the prophet 
and client, and the mirror-like surface of the crystal is the medium by 
means of which innate thoughts are reflected. 

As far as possible, the clairvoyant submerges his own personality 
in that of the inquirer, putting himself in his or her place. The best 
means of creating these links is to place an article constantly worn by 
the inquirer to the head. Profound silence brings about the sense of 
atmosphere and aura usual to the latter, and by these means, and an 
intent gazing into the crystal, visions originate. 

The crystal is supposed to be the magic bridge which spans the 



MYSTERIES OF CLAIRVOYANCE 431 

chasm fixed between itself and the spiritual world. In the iron it 
contains are situated the collective and culminating forces. 

Mists of white, green, blue, and violet tints are symbols of good 
fortune and happiness; black, yellow, and red are warnings of 
disaster. 

When the mists disperse and gradually ascend to the surface, the 
clairvoyant may reply to any question in the affirmative; mists that 
descend to the bottom are signs of negation. 

Images that develop to the left of the clairvoyant are real; those 
on the right are purely symbolical. 

It will be seen from the above that in order to apply oneself to the 
achievement of reading the secret depths of mind, character, talent, and 
circumstances, it is necessary to possess the power of separating one- 
self from material surroundings and allowing the spirit to dominate the 
body. 

This can only be executed by the process of hypnotizing oneself. 
Clairvoyance is based on certain forms of this semi-somnolent state, 
for, just as in hypnotism, the mind reigns supreme over matter and 
becomes isolated by means of an object, so, in clairvoyance, a waking 
trance is brought about by fixed gazing into the crystal. 

However, there are other methods of inducing this state, more or 
less difficult of manipulation, until constant practice and experience have 
made them a habit. 

For the reason, formerly mentioned, that long gazing at a bright 
surface is injurious to eyesight, many clairvoyants prefer to create 
visions without the use of a crystal. 

Words repeated over and over again have a mysterious power of 
isolating the sixth sense from the rest. 

For example, the word AUM is extraordinarily symbolical. It 
stands for three influences — 

A = the objective. 
U = the subjective. 
M = the Eternal. 

These are the three kingdoms in the heart of man. 

The objective, being the natural surroundings of objects and events 
which we all can feel and see. 

The subjective, being the realm of influences the degree of which is 
felt according to the perception and training of our spiritual forces; 
too often vague and illusive, because most of us ignore its existence. 

The Eternal World, being that state to which the subjective world, 
in its highest state of development, leads. This word repeated, slowly 



432 HOME FUN 

and steadily at first, and then at great speed, has a marvelous power 
to create as it were a vacuum between the spirit and body of the 
prophet. 

His mind dwells on its meaning; the vibration of the different letters 
acts on his mind, and he is carried by gentle stages to the very seat of 
his spiritual being. 

It is when he attains this full development that he is granted large, 
clear, and deep perceptions of his client's character, and is able to reveal 
facts concerning him which in his normal state would be absolutely 
impossible. 

The sensation experienced is that of being plunged into space in 
which the senses of sight, hearing, and touch are transmuted to the brain 
and spirit. 

The student will doubtless be discouraged at first at his inability to 
produce this state, but he should remember that hard work and persever- 
ance are the attributes which all must give to be perfect in any learning, 
art, or science. 

One destined to become a great mathematician stumbles in childhood 
w T ith despair over the first addition sum, and the most distinguished 
musician has to do battle with the rudiments of music. 

Thus it is in clairvoyance. Seemingly insuperable difficulties sur- 
round the novice who has never learnt to recognize the value and power 
of the sixth sense. Patience, a tranquil, determined mind, and not a 
little courage, are necessary in this branch of science. Time and growth 
work wonders in the persistent mind, and it will be seen that the obstacles 
gradually move aside, the curtain is lifted, and the strenuous seeker 
reaches that mature vision which he has formerly imagined dimly, if 
at all. 

It is a good plan for the novice to ponder on his own name, and, 
shut away from all distractions, repeat it again and again to himself. 
He will gradually feel a sense of deepest mystery surrounding him, 
for in that name is concentrated the riddle of existence. The blending 
of spiritual and material kingdoms lies behind it, and the material slips 
rapidly into obscurity. 

The Eternal Question 

The eternal question based on introspection faces him. " What 
am I? Whither am I going? What is the meaning of this thoughtful 
brain, this palpitating heart, these stirring pulses through which the 
mysteries of the soul flash in a thousand directions? " 

These and many other questions will move into being until the 
eternal atmosphere of spirituality is reached, and the wings of the soul 



MYSTERIES OF CLAIRVOYANCE 433 

become unfurled and increase in strength and power to lift him to the 
realms of his desire. 

Only when the heart is pure and worthy will the vision be granted — 
the dross of bitterness, envy, hatred, and malice, which generally hide 
the precious jewel from the light, and render scintillating brilliance 
impossible, all discarded. 

Every one knows how difficult it is to control the mind, and keep 
it from mean and uncharitable thoughts. It is more rebellious even than 
the body, and influences it for good or evil. 

Temptations small and great are created and emerge from the mind. 
No one thieves with his fingers until the thought of theft is born. His 
mental faculties plan the ways and means and cunningly devise pro- 
tections against the punishment in which the act when culminated 
results, unless artful deceptions render discovery impossible. Xo 
treason or wrong-doing was ever committed before the deed was hatched 
in the brain. 

The mental sphere may be a hotbed of falsehoods and treachery, 
or it may be a world of purest truth and virtue. 

Therefore, before all else, the clairvoyant must learn to discipline 
and constrain his thoughts, and this is extremely difficult, and seems 
at first almost impossible; yet, if the lamp is to burn brightly, it must 
be kept clean, and daily fed with all thoughts that are benevolent, gentle, 
and good. 

A humble demeanor, a longing for purity and singleness of purpose 
are needed to bring about these noble qualities, and here it is that proper 
treatment of the body is invaluable. 

Simple diet, early rising, daily exercise, constant isolation, and cul- 
tivation of good habits create the orbit for the higher faculties. These 
are the elementary rudiments of clairvoyance, and, unless they are 
mastered, the clairvoyant, no matter how diligent and persevering he 
may be in his studies and labor, is doomed to failure. 

A quiet state of mind helps in all the storms and stress of life. It 
is a harbor of quiet blue waters, in which the seafaring vessel may 
shelter beneath peaceful starlit skies, securing power and refreshment 
and shafts of clearest light by which other human ships may be led 
towards his haven. 



CHAPTER LIII 

TABLE-TURNING 

Fun for an Impromptu Party 

There is something sufficiently fascinating about table-turning to fix 
the attention and interest of guests gathered for an evening's recreation, 
and as it needs no previous arranging, it is an excellent device at an 
impromptu party. 

The table must be round, light, and of wood. As many of the 
company as can be squeezed in its circle may take part, but the excite- 
ment will be shared by the onlookers. Each places both hands lightly 
on the surface with the thumbs touching, and the little finger joined to 
that of his neighbor. It is important that there should be no break in 
the chain of hands, as this prevents the flow of the electric current, 
which is alone responsible for the vibration and movement of the table. 

The time of waiting for its first motion must be spent in silence, 
and may last from five to twenty minutes. Any " wag " who takes it 
into his head to jerk the table with his knees, or push it with his hands 
during this period, should at once be called upon to forfeit his 
place. 

Those experienced in table-turning know perfectly well how 
different the movement caused by such a proceeding is from the real 
tilt the table gives when moved by the electric current, and will soon 
discover the impostor, for no trick can bring about the same curious 
vibration. 

The table should be treated with the greatest respect, otherwise its 
" spirit " becomes taciturn and silent, and, even after the tilting back- 
wards and forwards has gone on for some time, it has been known to 
retire at the slightest sign of levity and incredulity. Not until the 
manipulators are assured of its movement should any question be asked, 
and, before this is done, they must agree upon some plan by which 
they may comprehend the answers given. 

Two taps or bows may stand for " Yes," one for " No," or vice 
versa; but, when once decided upon, should remain fixed. 

The question must not be asked until the preliminary vibrations have 

434 



TABLE-TURNING 435 

ceased; then one of the party — the medium, so-called because he or 
she possesses more magnetic power than the rest, addresses the spirit, 
and those anxious to hear anything affecting themselves must use him 
or her as mouthpiece. The table is questioned in some such way as 
this : — 

Medium — " Are you going to be kind to us to-night, O Spirit ? 
Please answer two taps for ' Yes,' and one for ' No.' " 

At this polite request the spirit doubtless replies in the affirmative. 
When ages and dates are required, the medium counts the number of 
taps, and gleans the result when the taps cease. 

Names are discovered by carefully going through the alphabet. 
Each tap stands for a letter, and, when the table pauses, the initial 
and other letters of the name are provided, until the whole is spelt 
out. Thus, supposing the medium inquires the name of his left-hand 
neighbor, which it may be presumed is Alice, the spirit, having appar- 
ently heard the question, gives one decided jerk, and then is perfectly 
motionless. The medium says " A — next letter, please." The table 
obediently bobs twelve times; that is, until L is reached. The medium 
continues, " Next letter, please," and the table obligingly bobs nine 
times. " I," says the medium — " next letter, please." Three bobs 
give C. Five bobs give E. The table is then motionless, and another 
question may be asked. 

Queries should never be clamored at once by the impatient guests, 
nor should one monopolize the spirit's attention with his own affairs. 
A good plan to follow is for each in turn to supply the medium with 
an inquiry. The initials, Christian or surname, of the man or maid 
one is destined to marry may be revealed by the spirit. Initial letters 
are better, because when there are many eager to know their fate, the 
full names take too long. 

Sometimes it will be noticed that the spirit gives very decided an- 
swers, jerking to one side so abruptly that the players are obliged to 
push back their chairs and have some difficulty in keeping their hands 
on its surface. At other times it seems undecided, and if the question 
is an unwelcome one, the spirit will race through the alphabet again 
and again at a great speed and without a moment's pause. When this 
is the case, another question should be asked. 

The Presence of an " Unbeliever " 

Should the spirit refuse to communicate at the end of twenty 
minutes, the manipulators may be sure that an " unbeliever " is in their 
midst, or that the whole assembly has too small magnetic power. When 
this happens, other persons should try their skill. 



436 HOME FUN 

As mediums are not uncommon, there will probably be one among 
them, and a brief waiting at the table will prove that this is the case. 

A good experiment to spare further waste of time is for the circle 
of attendants to decrease until only sufficient are left to maintain the 
chain. In this way the medium is discovered. A good medium creates 
movement in five minutes or less, and, with a tiny tea-table, it has often 
been shown that, when once set in full motion, all may withdraw except 
the medium under whose magnetic touch the table will continue to 
gyrate for several minutes. 

The spirit has many characteristics, and sometimes tires of the part 
expected of it, and, yielding to a frivolous mood, will dance or jump 
all over the floor, sometimes carrying its ministers out of the room to 
the passage. At others it remains true to the role of dignified sage, 
philosopher, and seer; but its moods are complicated, and these depend 
a great deal upon the amount of concentration and will that 
dominate it. 

Constant peals of laughter provoke it to giddiness or abrupt, curt 
" answers," while not infrequently, after several hours in which in- 
quiries have been constantly fired at it, it shows a most discourteous 
inclination to remain stolidly non-committal and motionless. Then the 
medium with gentle coaxings may restore its good temper and patience, 
but only for a short period. 

Perhaps the real reason for this reserve is to be found in the 
players themselves, whose magnetic power becomes exhausted, and 
fails to act as spontaneously as during the early hours of the evening. 
At any rate, when the medium asks courteously, " Are you very weary, 
O Spirit?" the table will frequently reply with two most emphatic 
bobs. 

Another means of discovering a medium and an " unbeliever " (the 
latter term does not imply a cynic, but simply an individual with an in- 
sufficient supply of magnetism) is to ask the spirit to spell out the 
name of the person it loves best. In nine cases out of ten, it will spell 
out the name of the medium, and it will be found that it is as quick to 
reveal the person it hates, viz., the " unbeliever " — no matter if he is 
far removed from its vicinity. 



CHAPTER LIV 

PALMISTRY 

Secrets of the Past, Present, and Future 

At social functions, such as garden and evening parties, fairs, &c, 
there are few people whose notice and attentions are so solicited as the 
palmist's. He speedily finds himself the central figure of a knot of 
people of both sexes, all eager to thrust their hands under his discerning 
eye, and compare their own estimation of their character — which, alas! 
is often subject to a severe shock — with that revealed by the sage's 
comparison of lines, mounts, and stars engraved upon the palm. 

The true palmist is no flatterer, nor is he over-hasty in judg- 
ment. 

Most hands index as many contradictions and complexities of dis- 
position as the human face, and the experienced reader of these hiero- 
glyphics finds that, to secure a just diagnosis of the subject's character, 
comparison of the many signs and minute calculations are necessary. 
The art of addition, subtraction, and multiplication is the fundamental 
principle of his profession. 

Shape, quality, proportion, and texture are of paramount impor- 
tance, and these should be examined before the lines are studied. The 
size of the fingers, and the manner in which they are set on the hand, 
furnish the key to the character of the hand examined. Each finger 
has its name and sign, and each has its distinguishing characteristics. 
For just as every leaf and petal possesses some minute difference that 
distinguishes it from its neighbor, so no hands in the world are exactly 
alike in form and structure. 

The name given to the first finger is Jupiter ; to the second, Saturn ; 
to the third, Apollo; to the fourth, Mercury; and to the thumb, Pollux. 
Fig. i shows some signs with their respective names. 

The natural bend of the fingers is important, and the palmist should 
be quick to notice its natural attitude before examining the interior of 
the hand. 

Some fingers are distinguished by their independent, prominent posi- 
tion over the rest. When the tips are inclined to curl to the palm, a 

437 



438 



HOME FUN 



plodding, determined nature is indicated, one that does not easily relin- 
quish a set aim or purpose because of obstacles. 

A wide space between Jupiter and Saturn shows unconventionality, 
and originality of thought and outlook. 

When the Jupiter finger is upright and straight, 
and of normal length, a just, candid nature is re- 
vealed. Should its position be in advance of the 
other fingers, the love of dominion. Falling slightly 
behind : dependency on others, a shirking of taking 
the initiative and responsibilities. Short: ingrati- 
tude, no enthusiasm. Pointed: tact, comprehension, 
and sympathy. (Fig. 2.) Square: integrity, un- 
kindly frank in expressing opinions. 

The generous and broad phalanges of Saturn 

show gravity, depth of character, and sense of pro- 

" mounts " and their portion. A short Saturn : imprudence, inclination to 

signs. act on impulse, somewhat foolhardy. Spatulate : 

energy. Square : cool, clear-headed, thought before action, absence of 

hasty judgments. (Fig. 2.) 

Apollo : well-developed, artistic tendencies. Forward : painting, 
drawing, or sculpture. Pointed: the artistic ability is greater than the 



h 


Jupifer 
S&turo 




cT 


Apollo 
Mercury 

M&rs 


9 


^nus 


3> 


Luna 



ft 




Fig. 2. — The Jupiter 
pointed finger. 



Fig. 3. — The Saturn 
square finger. 



Fig. 4.— The Apollo 
spatulate finger. 



practical. Spatulate: a sense of the beautiful in form and color, dra- 
matic powers. (Fig. 4.) 

Mercury, set lower than the other fingers, reveals the fact that 
many adverse circumstances have been battled with. Pointed : tact, dis- 
crimination, intuition. Square : love of scientific pursuits, good reason- 
ing powers. 

Beneath each finger rest their respective mounts. There are two 
mounts of Mars — that immediately at the base of the Jupiter mount, 
and that situated beneath Mercury mount. The mount of Luna is di- 
rectly opposite to that of Venus, which is found where the thumb joins 
the wrist. (Fig. 5.) 




PALMISTRY 439 

In many hands it will be observed that the position of the mounts 
varies. Jupiter may swell over the boundary line, and squeeze Saturn 
into close proximity with Apollo, which, in its turn, may take the place 
allotted to Mercury. These signs are im- 
portant. 

Jupiter's approach to Saturn shows timid- 
ity and self-consciousness. 

Saturn's approach to Apollo shows that 
the creation of art and literature is tinged with 
melancholy. 

Apollo's approach to Mercury shows 
humanity, charity, and a peaceable disposi- 
tion. 

Mercury's approach to Mars : self-reliance 
and resource in danger. 

Mars' approach to mercury : originality, de- 
fiance, and ability to hold one's own against 

opposition. FlG - 5-— Showing the position 

T ." ,. . , . . of the various mounts. 

Luna inclining towards tne wrist : reveries, 
some frivolity and love of pleasure. 

A glance will reveal which bumps are most developed in the hand, 
and these, taken together, are valuable keys to character. 

Jupiter and Mercury are worldly, versatile traits. 

Jupiter and Apollo are honest, noble traits. 

Jupiter and Venus are somewhat selfish, vain traits. 

Saturn and Mercury are signs that, unless among gay companions, 
the individual has no power of resource. 

These mounts are generally prominent in the hands of those who 
depend entirely upon others for their amusement, and have developed 
no powers by which to create a world of their own. They are shallow, 
discontented persons as a rule, unable to concentrate their minds on 
books or music. 

Saturn and Mars : a thrifty temperament, verging on the ava- 
ricious. 

Saturn and Luna : hypersensitiveness, distrust of self. A nature 
which is distressed, and rendered almost morbid by the sadder side of 
life, art, and literature. 

Apollo and Luna : extreme imaginative force. 

Apollo and Mars : in a creative hand show an inclination to depict 
the strong things of life, a certain amount of realism in portrayals. A 
love of danger and adventure. 

Mercury and Mars : a superabundant amount of fun and good 
spirits. 



440 HOME FUN 

Mercury and Venus : a gay, somewhat heartless, temperament. 

Mercury and Luna make a humorist. 

Venus and Apollo : a charitable, generous individual. 

The Phalanges 

Each finger has three divisions, known as the phalanges, and these 
are supposed to represent three worlds. 

The first, which includes the nail, stands for the spiritual. 

The second stands for the intellectual. 

The third stands for the material. 

Correct comparison of these phalanges provides the orbit of thoughts 
and ambitions in which the mind of the individual revolves, and when 
one of these predominates in length over the others, that quality for 
which it stands is the principal quality possessed, although a further 
study of the hand may contradict these attributes, or render them more 
excessive. 

For this reason the student is warned not to form his judgment by 
one indication only. He can arrive at no reliable solution to the riddle 
of character until he has studied every portion of the hand and linked 
together the various peculiarities it expresses. 

The thumb is, as it were, the figurehead of the hand. There is 
more character to be discerned in its form, habitual attitude, phalanges, 
and the space between it and the first finger, than in any other signs 
conveyed by the physical formation of the rest. The first phalange 
indexes strength or weakness of will power, constancy or fickleness, 
affection or coldness of disposition. The second phalange shows by 
what degree of reason the will is guided. Should it be much thinner 
towards the base than at the apex, a certain degree of narrow-minded, 
one-sided views is indicated. 

The third phalange represents emotions. The two angles stand for 
music, and are strongly marked upon the thumb of the musician and 
composer. The first indicates time, the second harmony. 

When the length of the third phalange preponderates over the first 
and second, a passionate character, uncurbed by the power of will, dis- 
cipline of reason, and self-control is shown. 

In a well-balanced, warm-hearted nature, these phalanges are in pro- 
portion. Extreme length in the first phalange shows a tyrannical and 
dogmatic will, which will surely prove a stumbling-block through 
life, unless the thumb of the right hand modifies this natural 
obstinacy. 

The palmist should beware of, as it were, labeling the hand. He 
cannot be too cautious in reaching an ultimate conclusion. The hand 



PALMISTRY 441 

possesses a range of complexities. Strength and weakness are mingled. 
Great talents may be mitigated by signs of almost equal inefficiency. 
Therefore all the links of circumstances and character depicted should 
be consolidated into a chain before the exponent ventures to voice his 
convictions. 

The left hand indicates natural tendencies; the right shows how far 
the good and bad propensities of the individual have been developed. 
It is possible that the former may represent an intellectual type which 
the latter does not verify. For instance, a clear and unbroken head 
line in the left hand may be marred and broken in the right, thus 
showing that ability in this direction has 
been neglected; or it may be that an in- 
efficient head line in the left palm con- 
tinues clear and deep on the right; and 
the conclusion arrived at is, of course, 
that, by dogged will and perseverance, 
inherent incompetency has gradually been 
remedied. 

Upon the palm six important lines are 
inscribed, as shown in Fig. 6 : — 

The life line, which forms a semicircle 
at the base of the thumb. 

The head line, which traverses the palm, 
and forms an angle with the life line. 

The heart line, which runs above and 
parallel with the head line. 

The fate line, which runs horizontally 
from Mount Saturn to the wrist. 

The Apollo or fortune line, which runs 
parallel with the fate line from Mount Apollo to Mount Luna. 

The line of health, which forms an angle with the base of the life 
line, and reaches almost to Mount Mercury. 

The ring of Saturn, reaching from Mount Apollo to Mount Jupiter. 

The line of intuition, curving from Mount Mercury to Mount Luna. 

Upon the depth, direction, and length of these lines the vitality, 
health, affections, future, finances, general tendencies of disposition and 
circumstances of the subject may be arrived at. 

The manifestation of stars and islands, dots, grilles, and chains are 
indications of misfortune, obstacles, ill-health, and domestic unhappi- 
ness. Triangles, squares, clear-cut crosses, when not formed on or by 
the lines of the hands, and circles on the mounts, are fortunate. 




E - E .Tbe line of Fortune* 



A.-y\. Tfce Line of Life. 
b- b. The Head Line. 

c-c . T^c Hearf Line. q-c.TbeRiogof Safurm. 

d -x> . Tije Line of Fate. H-H.TheLioe o(Mu\nor& 
I Br&cetefs 



F-F.TbeLioe<«Heftlrjj. 



Fig. 6. — The principal lines of the 
palm. 



442 HOME FUN 



Signs — and Wonders! 

The age of the subject is arrived at in the following manner. Divide 
the fate line, call the point of division 30. The age of 10 is slightly 
above the base of Luna. From 10 to 50 the line should be partitioned 
into equal parts; after that, however, the distances lessen. 

The life line may also be used to calculate age, but here the method 
of calculation is reversed, for childhood is above the thumb, and old 
age is indicated by the length of the curve to the wrist. 

Doubtless the most interesting marks to be found among the minor 
lines of the hand, such as indicate voyages, change of environment, 
talents and ambitions, are those which concern the attachments, love 
affairs, and future marriage of the subject. 

These are the influence lines, which may be discerned running from 
Mount Luna to the line of Fate, from Mount Venus to the line of 
Life, and on the Mount of Mercury. Their depth, length, and clear- 
ness depend upon the enduring nature of the sentiment involved. When 
crossed, barred, or cut, they demonstrate the fact that difficulties and 
opposition from parents, friends, or relatives are to be encountered, 
or it may be that the influence was merely a fleeting infatuation, what 
is commonly known as " calf-love," which time and deeper development 
of the character have annihilated. 

These signs should be compared with the age calculated upon the 
fate line — it will then be discovered whether the influence lines are of 
the past, present, or future; only constant practice and experience 
can aid the exponent to a correct estimate of the period of these 
happenings. 

It may happen that the hand of a man or woman under thirty years 
of age shows no indication of any of these influences, but this does not 
mean that love and matrimony will never happen to them, for these 
lines are sometimes late in appearance and may be found years after. 

An island situated on an influence line is extremely unfortunate, 
for it means either that marriage will be rendered impossible by the 
ill-health of the subject, or that the man to whom she is engaged is 
fickle or worthless in character. Likewise, it is unfortunate for Mer- 
cury's influence lines to terminate on the heart line, for this foretells 
bereavement and widowhood. Should it cross the heart line and run 
towards Venus, a separation is almost certain to culminate the alliance. 

Nearly all the lines traversing Mount Luna are attachments or 
influences connected with the opposite sex. When they rise from 
the life line, they may stand for close friends or relatives of the same 
sex. 



PALMISTRY 443 

Another important group of lines may be discerned at the base of 
the palm. The subject should rest the elbow on the table, with the 
hand bent over the wrist, which is marked with " rascettes " or brace- 
lets. When these lines curve up towards the palm, they signify that the 
ideals, thoughts, and impulses governing the character are noble and 
uplifting; when they droop to the wrist, mercenary ambitions and self- 
interest are dominant. When the rascettes are creased by other lines, 
a life of strenuous work is shown. When deep, smooth, and continuous 
— health, wealth, and happiness. 

In drawing-room palmistry, the palmist is often embarrassed and 
kept from concentration of thought by the buzzing, chatter and laughter 
of friends and acquaintances, all of whom are eager to have their hands 
read, and the majority of whom expect that a lightning glance is sufficient 
to reveal every detail of their character and future. 

Palms are thrust under his notice by smiling, optimistic young 
people, each of whom believes implicitly that for her or him the future 
is a land of honey and roses — a straight sunny path, wherein there are 
no piercing thorns and sole-bruising flints. 

Guileless and Good 

We all hold ourselves very dear; flaws in our natures, however 
serious and detrimental to character, seem trifles light as air. We 
appear to ourselves — especially when we are young — to be very good 
and guileless. We are assured that all follies will be conquered, re- 
pented of, left far behind us in the land of oblivion, long before old 
age catches us in the hip and thigh. And the palmist will often find 
that those who clamor most loudly for frank and impartial revelations 
are just those who are wounded by a single word that jars their self- 
esteem or questions the high price set upon their individual qualities. 

For this reason he must go gently, speaking without flattery or 
undue censure, and upon such occasions he would do well to keep his 
mind from diving beneath the surface of the trivial pleasant prophecies 
expected of him. He should never wound the susceptibilities of some 
nervous, high-strung soul by prophesying ill-health, bereavement, or 
death. 

The more serious side of the science can be dealt with only when 
the exponent and subject are secure from prying eyes and listening 
ears, and even then the palmist should be the very embodiment of tact, 
sympathy, and discretion. 

Should the subject really desire the probings of some past secret 
misfortune, the palmist may voice his interpretation of the history written 
in his hand, but, in a manner of humane and tender kindness, making 



444 HOME FUN 

much of the lighter side, and endeavoring to encourage and help by 
faith in a happier future. 

To blurt out some past tragedy or foretell one before others is a 
wanton cruelty of which the palmist should never be guilty. He 
should always endeavor to put himself in the place of the subject, and 
even when the latter is, as often happens to be the case, incredulous 
of his powers and eager to show his ignorance, the palmist should not 
allow himself to be stung to retort by revealing a jealously-guarded 
secret. 

The physician, the clergyman, the lawyer are the recipients of pathetic 
and strange confidences; the palmist will also discover many, and must 
ever hold them as inviolably. 

He must be a gentleman in the highest sense of the word — honorable, 
chivalrous, humane; and, whenever the opportunity occurs, strong to en- 
courage the weak and console and comfort the men and women, both 
young and old, whose hands reveal their heart-break, weariness, and sense 
of failure. 



CHAPTER LV 

PHRENOLOGY 



The Estate " Under the Hat " 

Phrenology is that science which may be said to provide a chart or 
map for the discovery of the treasures existing in the " estate under the 
hat." It is of Greek origin (phren, the mind; and logos, science), and is 
closely allied to craniology (Gr. : kranion-logos, skull-science). 

The difference between these terms is as follows : — Craniology is a 
mere acquaintance with the skull. Phrenology is a full and detailed 
knowledge of its contents. 

This study is not founded on superstition, and the phrenologist is 
neither charlatan nor magician, for, just as a man's mind may be 
revealed by the contour of his features, 
the twitching or tightening of his lips, 
a frowning or smoothing of the brows, 
so the physical formation of his skull 
reveals the propensities, talents, vir- 
tues, and weaknesses peculiar to his 
nature. The thin leather of a bulging 
purse indicates an amount of coin; a 
closer observation demonstrates of 
what this coin is composed — cents, 
dimes, or dollars — and in the same way 
the skin of the skull bulges, and close 
study and knowledge of the locality of 
its developments show the various 
qualities endowed. 

The student must possess a chart 
(Fig. i), and memorize it before he 

essays to indicate character by means of phrenology, for its kingdoms 
are as well defined as the counties on a map. 

There are forty-two faculties or organs in all — some more promi- 
nent than others, according to the disposition, temperament, education, 
profession, and personal inclination of the individual. 

445 




— Phrenology chart. 



446 



i. Amativeness 

2. Conjugal love 

3. Parental love 

4. Friendship 

5. Inhabitiveness 

6. Continuity 

7. Vitativeness 

8. . Combativeness 
9. Destructiveness 

10. Alimentiveness 

11. Acquisitiveness 
12: Secretiveness 

13. Cautiousness 

14. Approbativeness 



HOME FUN 

15. Self-esteem 

16. Firmness 

17. Conscientiousness 

18. Hope 

19. Spirituality 

20. Veneration 

21. Benevolence 

22. Constructiveness 

23. Ideality 

24. Sublimity 

25. Imitation 

26. Mirth 

27* Individuality 

28. Form 



29. Size 

30. Weight 

31. Color 

32. Order 

33. Calculation 

34. Locality 

35. Eventuality 

36. Time 

37. Tune 

38. Language 

39. Causality 

40. Comparison 

41. Human nature 

42. Suavity 



These may be divided into six important classes: — 

1. The social region, which includes — 

A. Amativeness. — Normal — interest in and love for the opposite sex. Too 

prominent — material. Too small — coldness and indifference. 

B. Conjugal affection. — Normal — constant and faithful love. Too promi- 

nent — jealous and selfish. Too small — fickle and inconstant fancy. 

C. Parental love. — Normal — self-abnegating love for children. Too pro- 

minent — indiscreet monopolizing. Too small — absence of tender- 
ness. 

D. Friendship. — Normal — sociability, warm attachments. Too prominent — 

too exacting, infatuations. Too small — inability to make friends. 

E. Inhabitiveness. — Normal- — love of home and native land. Too prominent 

— intense dislike to travel. Too small — a desire for constant change 
of scenery. 

F. Continuity. — Normal — the power of concentration. Too prominent- — the 

prevalence of one idea, self-centered. Too small — lack of con- 
centration. 



2. The selfish propensities — 

A. Vitativeness. — Normal' — vitality, joy of living. Too prominent — extreme 

dread of illness and death. Too small — callous of calamity. 

B. Combativeness. — Normal — courageous, antagonistic instincts. Too pro- 

minent — quarrelsome. Too small — want of mettle, cowardly. 

C. Destructiveness. — Normal — hardness and durability. Too prominent — 

vindictive. Too small — lack of interest, inability to endure pain or 
misfortune. 

D. Alimentiveness. — Normal — good and healthy appetite. Too prominent — 

gluttony, fastidiousness. Too small — want of appetite. 

E. Acquisitiveness. — Normal — thrift and economy. Too prominent — avarice. 

Too small — extravagant, a spendthrift. 



PHRENOLOGY 447 

F. Secretivcness. — Normal — reserve, tact, discretion. Too prominent — 

deceit, intrigue, falsehood. Too small — indiscreet revelations, 
thoughtlessness. 

G. Cautiousness. — Normal — apprehension, prudent care. Too prominent — 

timid, over-anxious. Too small — reckless, foolhardy. 

3. Self -controlling faculties — 

A. Approbativcness. — Normal — appreciation of public opinion, courtesy, 

manners, good breeding. Too prominent — ostentatious, " playing to 
the gallery," undue love of adulation. Too small — ignoring of gen- 
eral opinions, unconventional. 

B. Self-esteem. — Normal — individuality, personality, a proper sense of per- 

sonal importance and ability. Too prominent — conceit, egoism, 
tyranny. Too small — sense of inability and incompetency. 

C. Firmness. — Normal — will-power, assertion of self, determination, forti- 

tude. Too prominent — overbearing, perverse, illogical. Too small 
— inability to concentrate or overcome. 

4. Moral sentiments — 

A. Conscientiousness. — Normal — high regard for honor and duty. Too pro- 

minent — morbid hypersensitiveness. Too small — want of principle. 

B. Hope. — Normal — optmistic trust and buoyancy. Too prominent — fool- 

ish disregard of experience. Too small — an inclination to despair, 
sad and melancholy. 

C. Spirituality. — Normal — trust, faith, religious, devout, reverential. Too 

prominent — fanaticism. Too small — cynicism. 

D. Veneration. — Normal — chivalry towards the old, admiration for the 

great, modest, quiet demeanor. Too prominent — obsession. Too 
small — disrespectful, irreverent. 

E. Benevolence. — Normal — philanthropic inclinations, humane, charitable, 

generous. Too prominent — imprudent giving, waste of sympathy. 
Too small — selfish blindness and indifference. 

5. Intellectual faculties — 

A. Individuality. — Normal — a desire for knowledge, respect and regard for 

the feelings of others. Too prominent — over-curious, spying. Too 
small — lack of humor. 

B. Form. — Normal — ability to remember faces, shapes, and general appear- 

ance of buildings, &c. Too prominent — sensitiveness to want of 
beauty and contour. Too small — inability to observe shapes 
carefully. 

C. Size — Normal — the power of judging proportions at a glance. Too pro- 

minent — too much sense of comparison. Too small — incapable of 
judging length and breadth. 



448 HOME FUN 

D. Weight. — Normal — mechanical and mathematical inclinations. Too pro- 

minent — great regard for the laws of balance and gravity. Too 
small — awkward movements, want of harmony. 

E. Color. — Normal — the art of blending colors, delight in nature. Too 

prominent — hypersensitive of uncongenial environment; the clash- 
ing of colors is torture. Too small — a want of artistic sensibility, 
taste, and appreciation ; perhaps color-blind. 

F. Order. — Normal — ability to plan, to arrange, to discover the best method 

for doing business, &c. Too prominent — prim, fussy, fastidious, the 
mind obsessed by little things ; extremely fretted by want of method 
in others. Too small — slovenly, chaotic, Bohemian; duties per- 
formed or left according to mood and inclination. 

G. Calculation. — Normal — the power of mental arithmetic, the summing up 

of events. Too prominent — self-interest, any kind action done for 
the sake of some return, cold, distrustful. Too small — financial 
imprudence, inability to make accounts balance. 

H. Locality.^ — Normal — swift sense of strange surroundings, an observation 
of streets and buildings. Too prominent — a passion for explora- 
tions. Too small — want of observation of new things. 

I. Eventuality. — Normal — interest in present events. Too prominent — undue 
regard for trivial incidents. Too small — inability to remember 
recent events. 

J. Time. — Normal — memory of periods and length of time, love of punctu- 
ality. Too prominent — inordinate importance attached to dates, 
&c. Too small — slackness in punctuality. 

K. Tune. — Normal — sense of euphony in speech, harmony in music. Too 
prominent — passionate love of music. Too small — want of 
appreciation. 

L. Language. — Normal — fluent and attractive speech. Too prominent — 
prosy, garrulous. Too small — inability to express thoughts clearly 
and concisely. 

6. Reasoning faculties — 

A. Causality. — Normal — power of fathoming and understanding what is read 

or heard. Too prominent — theoretical knowledge rather than prac- 
tical. Too small — deficiency in arriving at independent conclusions. 

B. Comparison. — Normal — acquiring of sound knowledge and discarding 

what is worthless ; discriminating between what is true in art and 
literature and what is false. Too prominent — undue importance 
attached to words, carping criticism, invidious, harsh. Too small — 
credulous, easily imposed upon. 

The student will at first find considerable difficulty in determining 
the exact position of the different faculties. It is only by close study 
of his chart, practice on human heads, and experience, that he will 
at length achieve unerring ability to distinguish, blend, and separate 



PHRENOLOGY 449 

the different characters, inclinations, intellects, and emotions with which 
the human mind is gifted. 

Bald-Pated Friends 

In case the would-be phrenologist is not possessed of an amiable, 
bald-headed relation, he should endeavor to ingratiate himself in the 
favors of a hairless friend, for there is nothing so excellent for practice 
as a thatchless skull. Indeed, he is fortunate who has a large circle 
of bald-pated friends and acquaintances, for, even if he dare not attempt 
to find out their qualities by the sense of touch, he may achieve much 
by observation. 

Women's heads are the most difficult to examine, and never should 
the student exhibit his art on the well-coiffured damsel. There decep- 
tion lies, for what seems to him an abnormal development of " bumps " 
will in all probability be artificial pads used by the fair one to discipline 
her tresses into fashion's latest erection, to say nothing of hairpins 
and many other mysteries which the mind of a man, be he ever so 
learned in phrenology, can never hope to fathom. 

The woman who is really curious to have her faculties read must 
consent to unpin her locks, so that the hand of the phrenologist may 
come in contact with her head ; and he must possess a sensitive touch, 
which quickly discerns the different developments of the skull. 

Phrenologist — and Man ! 

Students of phrenology will be astonished to find what a great deal 
of information may be gained by means of careful observation, when 
actual investigation is impossible. No opportunity should be lost of 
studying shape, poise, and balance of the human head. From the 
temples and brows of the man occupying the same seat on an omnibus 
a great deal is to be learnt, in spite of his headgear; the faculties i, 2, 
3, 5, 7, 9, 24, 25, 26, 27, 28, 29, 30, 32, 33, and 35 will probably pro- 
trude, and demonstrate what degree of love of form, size, individuality, 
eventuality, alimentiveness, destructiveness, vitativeness, conjugality, 
and amativeness exist in his nature. 

Churches, concert rooms, and theaters abound with opportunities 
for the scrutiny of masculine heads, and upon each is engraved those 
abstract qualities furnished by the memorized chart. 

The phrenologist should take pains to keep his hands and nails 
perfectly clean. He should bathe them between each experiment, as 
the natural grease of the hair soils them, and no one likes to have his 
skull touched by unclean fingers. It is essential for him to possess 



450 HOME FUN 

and cultivate a buoyant disposition, which will tend to help and encourage 
him, and not to condemn a subject for the weaknesses of character 
he discovers. 

Few ills have no cure. This is as true of mental inefficiency as of 
physical ailments, and the prophecies of the humane phrenologist are 
set in the major and not the minor key. Every individual, however 
seemingly worthless or uninteresting, possesses some divine gift, 
which perhaps lies dormant and neglected through his ignorance of its 
existence. Here it is that the phrenologist is able to let a chink of 
light penetrate the darkness, and a few kind, judicious words will do 
much to bring back the latent self-respect to him who has despaired 
of being released from the fetters of evil habits, intemperance, sloth, or 
indifference to the liberty of wholesome well-being. 

The motto of the student should be never to condemn. When he 
has once reached the secret of identity, he should set himself to appeal 
and rouse the dying spirit of manhood to a new resurrection of power 
and achievement, for probably adverse and bitter circumstances, her- 
edity, and poverty have done much to batter down the higher nature 
and develop the baser qualities of the man whose faculties he examines ; 
and he can only dimly imagine, but never fathom, the strength of 
the temptations that warp the various molds in which the human mind 
is set. 

The Humorous Side of Phrenology 

In drawing-room exhibitions, only the lighter side of phrenology 
should be dealt with. A fund of humor and wit can be demonstrated 
here, so that instruction is blended with amusement, and it is not un- 
fitting to use animals as illustrations of different qualities. For instance, 
the refrain in the once-popular lyric, " But the cat came back," clearly 
testifies that this animal possessed the nodosity of inhabitiveness to 
a marked degree. Not so the man of music-hall fame whose pathetic 
pleading, " Please don't take me home," stirs our heartstrings most 
potently, or " Bill Bailey," the wanderer. The small dog that ogles 
a larger comrade engaged with a bone, but who fears his mightier 
powers too greatly to venture open attack, possesses " cupboard " affec- 
tion rather than amativeness. 

The blinkered horse, were it granted speech, would doubtless demon- 
strate the fact that it has cultivated the faculty of spirituality in no 
small degree, for its sense of the unseen is remarkable. 

The bull has only to kick up his heels and lower his horns at a 
red parasol to vindicate his apt discernment of color. The manner in 
which the watch-dog registers the shape of his enemy's calves in his 



PHRENOLOGY 451 

memory is a truly astonishing sign of his sense of form and locality. 
The serpent's feline smile at the bird is eloquent of its sociability and 
expectation; its glistening coils are the personification of blandness 
and invitation to embrace. Stay-at-home oysters are famous for 
domesticity. The fish swallowing the hooked worm illustrates a beau- 
tiful trust and faith in the providential plans man culminates for his 
welfare. In the hobbled ass, wandering over and over his patch of 
grass, economy, adhesiveness, and a very praiseworthy amount of ap- 
plication are shown. 

It might be well for the ambitious phrenologist to study the skulls 
of these and other animals, birds, and fishes, for in these the unadulter- 
ated essences of virtues and vices and instinctive propensities are dis- 
covered. The human head may be likened to a very rich pudding com- 
posed of very different ingredients, flavorings, and strata of coloring, 
and sugared with conventionalities and hypocrisies. The animal, on 
the contrary, exhibits its true qualities as frankly as a sirloin of raw 
beef suspended in a butcher's window. 



CHAPTER LVI 

TELLING FORTUNES BY CARDS, DICE, 
DOMINOES, ETC. 

What the Future has in Store 

There is no more amusing diversion for a frivolous half-hour's enter- 
tainment than that of fortune-telling by cards. Young or old enjoy it, 
and with a ready tongue the combinations presented may be so varied 
that quite surprisingly good predictions can be made. 

Surround the whole business with as much mystery as possible. 
Insist that all shuffling be done by the subject himself, and that cutting 
is always carried out with the left hand. 

Learn the meanings of the cards by heart. This is not difficult, 
and by doing so one is enabled to tell a fortune quickly : always a more 
impressive proceeding than telling it card by card. 

These are the generally accepted meanings of the cards : — 

Clubs 

Ace of Clubs, wealth and prosperity. King of Clubs, upright, 
affectionate. Queen of Clubs, deeply in love. Knave of Clubs, generous 
and sincere. Ten of Clubs, a fortune from an unexpected quarter. Nine 
of Clubs, obstinacy; disputes with friends. Eight of Clubs, a love of 
money. Seven of Clubs, fortune and great happiness. Six of Clubs, 
a lucrative partnership. Five of Clubs, marriage zvith a wealthy per- 
son. Four of Clubs, inconstancy. Three of Clubs, a second or third 
marriage. Two of Clubs, opposition. 

Spades 

Ace of Spades, a love affair; if reversed, a death. King of Spades, 
an ambitious person. Queen of Spades, a treacherous friend. Knave of 
Spades, indolent, but well-meaning. Ten of Spades, an unlucky, card. 
Nine of Spades, the worst card in the pack; sickness, or loss of fortune. 
Eight of Spades, opposition from friends. Seven of Spades, sorrow. 
Six of Spades, great fortune. Five of Spades, success; a happy mar- 
riage. Four of Spades, illness; small loss of money. Three of Spades, 
an unfortunate marriage. Two of Spades, a death. 

452 



TELLING FORTUNES BY CARDS, ETC. 453 

Hearts 

Ace of Hearts, pleasure; if with Spades, quarreling; if with Dia- 
monds, news of an absent friend; if with Clubs, merry-making. King 
of Hearts, nice, but hasty and passionate. Queen of Hearts, fair, affec- 
tionate. Knave of Hearts, the subject's dearest friend. Ten of Hearts, 
the antidote of bad cards that lie near it, but confirming the goody 
Nine of Hearts, wealth; this is also the wish card. Eight of Hearts, 
feasting and merry-making. Seven of Hearts, fickle. Six of Hearts, 
generous, easily imposed upon. Five of Hearts, waverer, changeable. 
Four of Hearts, marriage late in life. Three of Hearts, imprudent; 
hot-headed action, which has disastrous consequences. Two of Hearts, 
extraordinary success and good fortune. 

Diamonds 

Ace of Diamonds, a letter; the card next to it will indicate its nature. 
King of Diamonds, hot tempered. Queen of Diamonds, a coquette. 
Knave of Diamonds, a selfish person. Ten of Diamonds, money. 
Nine of Diamonds, a roving person. Eight of Diamonds, marriage late 
in life. Seven of Diamonds, a gambler. Six of Diamonds, early mar- 
riage. Five of Diamonds, friendship. Four of Diamonds, unhappy 
marriage. Three of Diamonds, quarrels, lawsuits, and disagreements. 
Two of Diamonds, a serious love affair. 

There are two effective ways of fortune-telling. 

For the first, ask your subject to shuffle the cards very thoroughly 
and to wish all the time. Then cut them into three piles with the left 
hand. Should the wish card (the Nine of Hearts) be one of those cut, 
it is a lucky omen. 

Notice two other cards and their possible bearing on the wish. Now, 
after lifting the cards and putting them together with the left hand, 
proceed to divide them into piles in this fashion. 

The first pile is to yourself. The second, to the house. The third, 
to your wish. The fourth, what you do expect. The fifth, what you 
don't expect. The sixth, sure to come true. The seventh foretells the 
happenings of to-night. 

Arrange these piles, as you deal out the cards one by one, in a semi- 
circle. Then proceed to read them off by their meanings. 

Another and rather more complicated method is to ask the person 
whose fortune is being told which King he will be (if it is a woman, 
one would naturally ask which Queen). 

After the wishing has been done as before, the fortune-teller lays 
out the cards in rows — seven in a row. 



454 HOME FUN 

To read the fortune the teller must start from the King or Queen 
chosen, counting seven from him or her in every case. 

The King or Queen of the same suit will always be the lover or 
sweetheart of the one whose fortune is being told, and the Knave being 
their thoughts, it is, of course, quite easy to discover their feelings. 

It is rather a good plan to write the meanings of the cards on an 
old pack. By using this a few times a rapid flow of ideas will much 




Fig. i. — Cards dealt for fortune-telling: i. to yourself; 2. to the house; 3. to your wish; 
4. what you do expect ; 5. what you don't expect ; 6. sure to come true ; 7. to-night. 



more readily be induced. It might be mentioned that a too strict adher- 
ence to rule is by no means either necessary or desirable in fortune- 
telling. Tell what the combination of cards suggests to you — quite 
irrespective of the exact meaning of each — and you will be infinitely 
more amusing and obtain much greater fame as a wizard. 



19 * 




r k 




h 


A 1 


A A 




141 




♦ 


♦ 


A A! 

V*- * 




vj 




♦ 


♦J 



Fig. 2.— Cards foretelling a wish about a love affair— leading to an early marriage. 

A few predictions are shown by the accompanying diagrams. Fig. 1 
depicts the manner of dealing out the cards in sets of seven, and in 
what respect each is to be read. 

Fig. 2 shows three cards which might conceivably come together 
in any one set. They would be read as foretelling the following: — 
You will get a wish (Nine of Hearts), which is about a love affair (Ace 
of Spades), and it will lead to an early marriage (Six of Diamonds). 



TELLING FORTUNES BY CARDS, ETC. 455 

Fig. 3 conveys the following: — You will get a letter (Ace of Dia- 
monds) about money (Ten of Diamonds). Your good fortune, how- 
ever, will not permit you to marry until late in life (Eight of Dia- 
monds). The five cards representing Fig. 4 tell that the subject's 
dearest friend (Knave of Hearts) will make the acquaintance of a flirt 
(Queen of Diamonds), and will shortly after suffer illness or slight loss 



— ■ ->, 

A 




[*♦♦!] 




♦ ♦ ♦ 


♦ 

r- 




♦ ♦ 
♦ . ♦ 




♦ ♦ 


V 




♦♦♦5 




♦ ♦♦ 

L J 



Fig. 3. — Foretelling the receipt of a letter about money, but the good fortune will 
not permit the recipient to marry until late in life. 



of money (Four of Spades), but afterwards he will fall in love with 
a fair affectionate woman (Queen of Hearts) and enjoy extraordinary 
success (Two of Hearts). 



A Throw of the Dice 

Although forecasting of the future from dice is one of the most 
ancient methods of prediction, it is curiously enough almost unknown 
in modern days. For this reason it is of special value to the home enter- 
tainer, and will prove infinitely simpler than the cards, the meanings 
being easier to learn as well as fewer in number. 

First chalk a magic circle on the table, then obtain a small cup or 
box to shake the dice in. 

Three dice only should be used. 

The person whose future is at stake must shake and cast the dice 
in the circle. This, as in card fortune-telling, should be done with the 
left hand. 

Three tells you of an approaching accident; four, a rise in your 
position; five, that you will make the acquaintance of one who will 
be a friend; six, predicts loss; seven, a scandal; eight, a reproach — ■ 



456 HOME FUN 

that is not undeserved; nine, a wedding; ten, a christening; eleven, 
trouble for one you love; twelve, an important letter; thirteen, tears; 
fourteen, beware of an enemy; fifteen, good luck and happiness; six- 





» * 



♦ * 





Fig. 4. — Reveals that the subject's dearest friend will make the acquaintance of a flirt, 
and will shortly suffer illness or slight loss of money, but afterwards will fall 
in love with a fair affectionate woman and enjoy extraordinary success. 

teen, a journey; seventeen, a water journey; three sixes, or eighteen 
points, is a very good sign. It means great profit in business, or some- 
thing the person wishes for very much. 



Fortune-Telling by Dominoes 

A fairly unique accomplishment is to reveal the future by the aid 
of dominoes, and there is something sufficiently fascinating and mys- 
terious about this mode of revelation to fill the uninitiated with awe at 
the powers of the exponent. 

Each small oblong has its secret meaning by which some happen- 



TELLING FORTUNES BY CARDS, ETC. 457 

ing vital to the subject is illustrated. It is a matter of little difficulty 
to commit these to memory; and in this, as in other methods 
of divination, the fundamental principle is that of comparison and 
calculation. 

The dominoes used range from double-six to double-blank, and by 
these are symbolized the various vicissitudes of fate likely to befall 
mankind. The exponent places his paraphernalia upon the table, and, 
having turned them with their black spots facing the surface, proceeds 
to shuffle them. When this is done, the subject is requested to draw 
three pieces, one at a time. Between the choice of each the dominoes 
are shuffled. 

The first supplies an impression; should it be drawn a second time, 
the impression becomes a conviction. The third, however, may lessen 
or wholly contradict its degree of importance, and this is where calcula- 
tion and comparison in blending the signs are essential to a successful 
justification and interpretation of these symbols. 

Double-six is an emblem of matrimonial happiness and financial 
prosperity. 

Six-five is almost equally fortunate. Perseverance and concentra- 
tion are rewarded by ultimate success. 

Six-four implies a comfortable income, and secures happiness in 
marriage. 

Six-three demonstrates that fate smiles upon the love and marriage 
of the subject. 

Six-two. — Prudence, hard work, and a certain amount of good luck, 
or exposure and shame for any wrong-doing. 

Six-one promises two marriages to the young subject, the first of 
which will not be as happy as the second. Should the subject be of 
middle age, this domino foretells the speedy arrival of good things and 
the fact that he or she will never be left lonely and uncared for. 

Six-blank is, alas, a sign of great trouble — sickness, death, or heavy 
money losses. 

Double-five presages that all achievements will be rewarded with a 
large amount of success, but inordinate wealth is not prophesied. 

Five-four is almost as unfortunate a draw as six-blank. Should a 
young girl lift it, it means that her future husband will be poor and 
leave her a widow. Further, he may be of extravagant disposition, in 
spite of his poverty. 

Five-three indicates a tranquil and contented existence. Sufficient 
money and matrimonial affection of moderate strength, the couple being 
incapable of passionate devotion. 

Five-two conveys a warning that love and marriage are destined to 
an unhappy termination. 



458 HOME FUN 

Five-one portends social popularity, but financial worries and 
losses. 

Five-blank is supposed to demonstrate egotistical and avaricious 
characteristics, tendencies to swindling and intrigues, also a warning to 
remain unmarried. 

Double-four. — The man who earns his livelihood by manual labor 
may regard this domino as a sign of future security and prosperity, but 
to him whose profession needs mental achievement it is rather disastrous. 
Troubles and disappointments await him. 

Four-three. — Matrimony and moderate income. 

Four-two proclaims an early marriage and moderate income. 

Four-one. — Wealth or many friends. 

Four-blank. — A sure warning that single life will be the best and 
happiest. It counsels that any secrets imparted to another will be in- 
discreetly revealed. 

Double-three. — Enormous riches. 

Three-two foretells prosperity in matrimony, travels, and specula- 
tions. 

Three-one. — Some danger and unhappiness. The necessity for act- 
ing with extreme caution in all matters. 

Three-blank. — Domestic unhappiness — such as a quarrel or incom- 
patibility of temperament of husband and wife. The absence of har- 
mony in the home. 

Double-two promises average happiness and income. 

Two-one. — Two marriages, if the individual be a woman; financial 
failures to a commercial man. 

Two-blank. — The intrigues of unscrupulous persons will meet with 
temporary success. It also denotes poverty, and an indolent husband. 
The individual will return safely from all journeys undertaken. 

Double-one. — An existence free from money worries; peace and 
constancy in love and marriage. 

Double-blank seems to favor the deeds of unprincipled persons, and 
foretells want of integrity in lover and husband. 

Figured Futurity 

That a certain amount of character and future may be revealed by 
means of figures is a fact that may be tested for itself. The results 
achieved by this method of divination are truly astonishing, and an ample 
reward to the mathematician for his attempt to solve the riddle of human 
nature. 

Certain groups of figures stand for different qualities. Those given 
in the table which follows are only a small portion of the whole, but 



TELLING FORTUNES BY CARDS, ETC. 459 

they are sufficient for the beginner. Each letter of the alphabet has its 
accompanying digit, and each digit has its abstract conditions, thus: — 

A. 1. Passion, ambition,' design. 

B. 2. Destruction, death. 

C. 3. Religion, destiny, the soul. 

D. 4. Solidity, sagacity, power. 

E. 5. The stars, happiness, graces, marriage. 

F. 6. Perfect labor. 

G. 7. Course of life, repose, liberty, success. 
H. 8. Justice, preservation. 

I. 9. Imperfection, grief, pain, expectation. 

J. 600. Perfection. 

K. 10. Success, reason, future happiness. 

L. 20. Austerity, sadness. 

M. 30. Fame, a wedding. 

N. 40. Fetes, a wedding. 

O. 50. Pardon, liberty. 

P. 60. Widowhood. 

Q. 70. Science, the graces. 

R. 80. A cure. 

S. 90. Blindness, error, affliction. 

T. 100. Divine favor. 

U. 200. Irresolution. 

V. 700. Strength. 

W. (double V.), 1400. Perfection of strength. 

X. 300. Safety, belief, philosophy. 

Y. 400. Long and wearisome journey. 

Z. 500. Holiness. 

800. Empire. 

900. War, combats, struggles. 

The first thing the exponent asks is the name of the subject. He 
writes it on a slip of paper, and next to each letter its accompanying 
figure. Supposing the name to be Dick James Smith, it should appear 
thus : — 

J 600 

A 1 

M 30 

E 5 

S 90 

Now they are added separately thus : — 

Dick 26 James 726 



D 


4 


I 


9 


C 


3 


K 


10 



S 


90 


M 


30 


I 


9 


T 


100 


H 


8 


Smith 237 



460 HOME FUN 

Add the three totals together: — 

Dick 26 
James 726 
Smith 237 



Which makes 989 



900. War, combats, struggles. 
80. A cure. 
9. Imperfection, grief, pain, expectation. 

The deduction being that Dick James Smith is endowed with a 
quarrelsome, headstrong nature, optimism, and inefficient will-power, 
which are destined to cause him great trouble, loss, and misery before 
they are conquered. 

Should the total of the names reach beyond 1390, the first digit must 
be subtracted, as in the name : — ■ 



Jphannah 


Christine 


Whiting 


J 600 


C 


3 


W 1,400 


O 50 


H 


8 


H 8 


H 8 


R 


80 


I 9 


A 1 


I 


9 


T 100 


N 40 


S 


90 


I 9 


N 40 


T 


100 


N 40 


A 1 


I 


9 


G 7 


H 8 


N 


40 






E 


5 




748 




344 


i,573 



Total 2,665. Take away the first figure, leaves 665. 
600. Perfection. 
60. Widowhood. 

5. The stars, happiness, graces, marriage, showing that Johannah 
Christine Whiting's life will be a mixture of joy and sorrow, the latter 
borne by a courageous and tranquil spirit. Her integrity and attractive- 
ness of character will, no doubt, bring her much love and many friends. 

The fortune-teller who uses the cabalistic method of revealing Des- 
tiny's secrets should be extremely careful to attach the correct figures 
to the letters contained in the names of the subject, otherwise it is quite 
obvious that his delineation will be at fault. He should add the numbers 
several times to make sure they are exact. If he has a good memory, 
he will memorize the table of qualities, and a great aid to this is to 



TELLING FORTUNES BY CARDS, ETC. 461 

practice with it before him, manufacturing names, or taking those of 
some well-known poet, author, statesman, or ecclesiastic. 

His own name will doubtless reveal the fundamental truths of this 
method, and the cognomens of well-known personages will show him 
the distinguishing traits that have made them famous. For instance, 
take Florence Nightingale : — 

Florence 209 
Nightingale 246 



F 


6 


N 


40 


L 


20 


I 


9 


O 


50 


G 


7 


R 


80 


H 


8 


E 


5 


T 


100 


N 


40 


I 


9 


C 


3 


N 


40 


E 


5 


G 


7 






A 


1 






L 


20 






E 


5 




209 




246 



455 



400. Long and wearisome 
voyage. 
50. Pardon and liberty. 
5. The stars, happiness, 
graces. 



Divinations by Tarocs 

Tarocs differ from the numeral cards used for bridge, whist, &c, 
in several ways. A pack consists of seventy-eight cards, made up of 
twenty-two emblematic pictures and fifty-six ordinary. 

These latter are grouped into four suits of fourteen cards each : — 
four coat cards — king, queen, chevalier, and valet; and ten pip cards, 
numbering from 1 to 10. 

The twenty-two emblematic cards are known as the Major Arcana, 
and are divided into three groups of seven, which equal twenty-one cards. 
The twenty-second stands for the highest point successful achievement 
may reach. The Major Arcana contains: — 



1. The Juggler . . 

2. The High Priestess 

3. The Empress 

4. The Emperor 

5. The Pope 

6. Lovers 

7. The Chariot . 



1st Division. 

emblematic of the male inquirer. 

woman inquirer. 

action, initiative. 

will. 

inspiration. 

love. 

triumph, provi- 
dential protec- 
tion. 



462 HOME FUN 

2nd Division. 

1. Justice emblematic of justice. 

2. The Hermit .... " prudence. 

3. The Wheel of Fortune . " destiny. 

4. Strength " fortitude, courage. 

5. The Hanged Man . . " trial and sacrifice. 

6. Death " bereavement. 

7. Temperance .... " temperance. 

yrd Division. 

1. The Devil .... emblematic of immense force or illness. 

2. The Struck Tower . " ruin and deception. 

3. The Stars .... " " hope. 

4. The Moon ... " hidden dangers, enemies. 

5. The Sun .... " material happiness, mar- 

riage. 

6. Judgment .... " change of circumstances. 

7. The Foolish Man . . " inconsiderate actions. 

The remaining card, No. 22, which belongs to this division, is 

The Universe, emblematic of success. 

The Minor Arcana, divided into two groups of four, corresponding 
to the suits of ordinary playing cards : — 

Scepters relate to diamonds, interpreted as enterprise. 
Cups " hearts, " " love. 

Swords spades, " misfortune. 

Pentacles " clubs, " " interest. 

The four coat cards stand for different conditions of existence: — 

King, emblematic of man. Divine world (spirituality). 

Queen, " " woman. Human world (vitality). 

Chevalier, " " youth. Material world (materiality). 

Valet, " childhood. Transition stage (life in growth). 

The remaining cards of these suits (1 to 10) are important accord- 
ing to their relation to the coat cards and their numerical value. These 
are divided into four groups : — 



TELLING FORTUNES BY CARDS, ETC. 463 

(1) 1, 2, 3 of each suit appertain to man — abstract qualities, 

creation, and enterprise. 

(2) 4, 5, 6 of each suit represent woman — opposition, reflec- 

tion, and negation. 

(3) 7> 8> 9 of each suit represent youth and materialism. 

(4) The four tens of each suit represent the stage of transition. 

In order to tell fortunes by means of tarocs, the manipulator must 
be perfectly conversant with the design, class, and interpretation of each 
card. 

Process of Divination 

The complete pack is used. Shuffle and cut into three parts, each 
composed of twenty-six cards, thus: — 

26 26 26 

Take the central pack, and place on the right. 

The inquirer shuffles the two remaining packs, which equal fifty- 
two. These are dealt out in a similar fashion — three groups of seven- 
teen cards, thus: — 

17 17 17 

Again remove central pack to the right. 

Deal out the remaining packs, which equal thirty-four, in three 
groups of eleven, thus : — 

11 11 11 

It will be seen that seventy-eight cards divide equally in the first deal. 

In the second deal, however, only fifty-one cards are used, so that 
there is one over. This card is shuffled with the third deal. 

Two cards are now over, and these are placed as discards, until 
the central pack of the last deal of eleven is put on the right, when they 
are shuffled with the remaining twenty-two discards. The cards will now 
be as follows : — 

26 17 II 



464 HOME FUN 

Discards = twenty-four, making in all seventy-eight. They are next 
placed beneath each other in sequence, thus : — 

A. 26, ; emblematic of the supernatural, spiritual. 

CD 

B 17, " thoughts and calling of the individual. 

CD 

C. 11, " physical and material. 

The tarocs of pack A, B, and C are now lifted separately, and placed 
on the table from left to right in rows. Each taroc has its meaning, 
and from its relation to its fellows the manipulator is able to present a 
brief sketch of character, inclination, and futurity. 

Another simple method is to shuffle all the cards and request the 
inquirer to cut. The manipulator then proceeds to draw the first seven- 
teen tarocs, uncovering only the eighteenth and last card of the pack. 
These two cards create what degree of sympathy is shared between 
himself and his client, the keynote being given by the symbolic meaning 
attached to the card. The seventeen cards are now revealed from left 
to right, their interpretation being given separately. In order to reach 
a proper signification, they are then compared as follows : — 

The first with the seventeenth. 
The second with the sixteenth. 
The third with the fifteenth, 

and so on, each process increasing or taking from the first mani- 
festation. 



CHAPTER LVII 

GRAPHOLOGY 

Character from Handwriting 

More or less consciously, every one is a reader of handwriting! If 
we have not devoted thought and study to the subject, we merely 
gather a vaguely favorable, or unfavorable, impression from the 
first letter written to us by a new acquaintance, and store it up 
with the other impressions we have already gleaned from their 
personality. 

When, however, time and thought are given to the fascinating cult 
of Graphology, it will be found to reward its students, by letting a 
thousand little sidelights on to character — and if the most " proper 
study of mankind is man," then assuredly is Graphology a most helpful 
adjunct to that end. 

One must crawl before one can walk, and learn the alphabet before 
one can master a language, therefore an impulsive learner must not 
grow disgusted because his laborious reading of a handwriting is dis- 
jointed, and may be obviously unlike the writer. By the time he can 
read a character from a letter, without gathering a word of that letter's 
sense — which is what every graphologist worthy the name can, and 
does do — he will have come to see how one sign outweighs or counter- 
balances another, and so learn to read a human character from a sheet 
of paper and the more or less erratic tracings of a pen. 

As a home entertainment, any amount of fun is to be got out of 
it. One unfailing source of amusement is to notice how all are willing 
vaguely to accept the ownership of every failing save the one you ascribe 
to them. 

The jealous girl is " perfectly horrid," she knows. But she certainly 
" isn't jealous." The lazy man is " bad tempered, perhaps," but " no 
one could call him indolent." 

Friends and relations will, however, be ready to assure you of the 
correctness of your delineation. 

The first thing to notice when studying character from hand- 
writing, is the direction of a hand. Is it even, upward, or tending to 

465 



466 HOME FUN 

meander clown the page? The even hand suggests honesty, conscien- 
tiousness, and a calm, well-balanced nature. The upward hand tells 
of will power and ambition, cheerfulness and energy. The hand that 
slopes downward tells of a timid and weak nature, depression and 
melancholy. It must always be remembered, however, that temporary 
ill-health, and even a temporary wave of depression, will frequently 
alter the direction of a hand. 

Sometimes a beginner is puzzled by the varying direction — now 
upward, now downward — of a hand ; generally this betokens a mind 
struggling at the time with adverse circumstances or ill-health. 

Capital letters and terminals are both important. The more 
clearly formed and beautiful the letter, the more refined and artistic 
the nature. 

The graphologist picks out certain letters as being especially impor- 
tant — M, A, L, and D in the capital letters. The small d and e 
in terminal letters are certainly the most important. 

The Principal Letters 

Taken in alphabetical order, the following are the principal letters 
to study: — 

A. Well made, and simple in outline, indicates refinement, gentle- 
ness, intelligence, perhaps poetic feelings. Flourishes are always bad, 
and tell of pretension and egotism. If a small a is unjoined — open- 





Artistic — refined — loves poetry. Selfish and egotistical. 

mouthed as it were — the subject is something of a gossip. This also 
applies to the small o. 

B. This is a letter that frequently tells of ostentation and kindred 
failings. If the small b is well looped, look for an affectionate 
nature. 

C. A well-rounded C shows a kindly, perhaps indolent nature. A 
curly tail suggests selfishness and egotism. 

D. The small d is very truth-telling. A small d united to the letter 
following shows a good sequence of ideas. Too much flourish tells 
of an ill-balanced imagination. 



GRAPHOLOGY 467 

E. The capital letter shows egotism, even as the letter C does, in 
the curled back tail. A long tail to the small e tells of imagination, 
good-nature, ardor; if exaggerated, carelessness. 

M is the next really important letter — in some respects the most 
important. The first high loop means ambition, pride, discontent. A 
big flourish to the termination shows egotism; a moderate one force 
of character. 

T, or rather the particular method of crossing the T, is always 
of immense interest to the graphologist. Energy, strength of will, 





&U4 



Egotist. Force of character. Quick-tempered, willful 

and persevering. 

temper, perseverance, obstinacy, may all be shown or found to be 
lacking. The thickly crossed T indicates energy; the little hook back 
at the end, perseverance; a thick abrupt ending, temper. Impulsive 
people cross their T's high. Those who make long bars are energetic 
and quick in thinking. 

Wide spacing between lines suggests extravagant tastes ; accompanied 
by rounded terminals to the letters, good-nature and generosity. 

Short tails and a tendency to make as much as possible out of a 
sheet of paper, show the opposite characteristic. 

Misleading Signs 

It cannot be too emphatically impressed on the beginner, that it is 
fatal to judge from one sign alone. Study them all ere you commit 
yourself to an opinion ; above all, study the signature. 

A specimen for delineation should always consist of about six lines, 
not of copied matter. It must be written on unlined paper, and have 
the writer's usual signature attached. 

Never attempt to gather anything from an envelope, as one is so 
often asked to do. Like copied matter, or indeed anything written 
specially to order, it is hopelessly misleading. 

Flourishes always show a certain vulgarity of mind. A small and 
graceful one after the signature — particularly in the case of a woman 
— is, however, quite pardonable, and is indicative merely of love of 
praise and appreciation. Thick and heavy marks of punctuation are 



468 HOME FUN 

one of the signs of a passionate nature. Caution and careful attention 
to detail are shown by stops between initials and after the signature, the 
careful crossing of T's and dotting of Fs. Frank, impulsive natures 
seldom, if ever, close their A's and O's. 




Benevolent — kind-hearted, very refined, a poor one at keeping a secret, devoted 

to those she loves. 

Tender-hearted people invariably slope their writing, and make long 
tails and loops. The critic divides his letters. The orator and writer 
invariably join theirs, and carry them on from word to word, even as 
the sequence of their thoughts follows on. 



CXxxk %iwJ 



Vit 



ih^ 



Suggests an affectionate nature — one who would be greatly influenced by his friends! 
Critical — rather impulsive; a good worker at things he likes. Loves beauty 
and can keep his own counsel. 

As a general rule, the more charmingly clear the handwriting, the 
more straightforward and cultivated the person. Eccentricity, however, 
naturally mars many of the cleverest hands. 

It will perhaps simplify matters for the student, if a list is compiled 




GRAPHOLOGY 469 

of the principal human virtues and failings, and the means of discover- 
ing them by the handwriting, described : — 

Ambition. — This is shown in the upward tendency of the hand. 
Should will power be lacking, expect discontent. 

Business. — A businesslike person is always to be recognized by the 
care of such details as stops, spacing, crossing of T's, the general air 

Diplomatic, lacking in will power, possessing extravagant tastes, greatly 
influenced by the opposite sex. 

of law and order in the hand. Look for perseverance and will power to 
insure success. 

Brutality. — Thick, heavy, ungraceful handwriting, impulsive and 
lacking in intelligence. 

Candor. — Clear, well-spaced lines and open rounded letters. Well 
and firmly crossed T's. 

Caution. — See Business. 

Coldness. — Upright hand, closed up letters, no graceful " loop." 

Criticism. — This is often found allied to a good sequence of ideas. 
The separated letters of criticism and the carried on T crosses, &c, 
betray the quick thinker. 

Deceit. — This is always indicated by the screwed-up, badly-formed 
letters, that run into one another; lines uneven, and words that trail 
off into a mere scrawl. 

Determination is shown by the firmly crossed T, and the general 
firmness of the whole handwriting. 

Eccentricity. — Always betrays itself in a weird signature. Economy, 
short tails; careful hand, short terminals. 

Egotism. — Look for a flourish — for the curl back in capital C's and 
E's; for the curled back small d. 

Extravagance. — Wide margins and spacing, a rounded, rather flour- 
ishing hand; few stops; generally somewhat thick. Compare other 
signs. 



470 HOME FUN 

Fun. — The love of fun is usually indicated by quaintly-rounded 
terminals and oddly shaped, and often rather illegible capitals. 

Generosity. — Curled up terminals, bounded hand, M's and N's writ- 
ten like U's. 

Honor. — Even handwriting; might almost have been written over 
lines. See Candor; and for honesty also. 

Imagination. — Good capitals; small d's joined to following letter 
bear a hurried look; flying crosses to T's. 

Indolence. — Bounded hand; short terminals. 

Intelligence. — Shown by the small attractive hand; clear and firm 
good capitals. 

Jealousy. — A weak hand; sloping, long-looped, flyaway T's; egotis- 
tic C's. 

Loyalty. — Of course you cannot expect to find much character in 
handwriting until the age of seventeen or so, but the lad who is 
loyal to his friends and his sense of duty — the typical Boy Scout's 
hand, for example — will ever be found firm and boldly ascending 
the sheet. 

Melancholy. — Downward tendency, not only to lines but even 
words. 

Music. — Look for imagination, tenderness, and refinement. 

Neatness. — Easily to be seen. 

Obstinacy. — Heavy; crushed down as it were on an imaginary line; 
thick. 

Originality. — Imagination marked; unique capitals and flourishes. 

Pride. — The exaggerated first loop to the M. 

Possesses good sequence of ideas; clever, vivacious, good-natured and devoted. 

Perseverance. — Clear running hand; well crossed T's, with little 
hook to end their crossing. 

Selfishness. — Upright hand, generally heavy. 

Sensitiveness. — A very sloped, rather weak, and long-looped hand. 

Temper. — Thickly crossed, flying T's; uneven and rather angular 
handwriting. 

Truth. — See Candor. 



GRAPHOLOGY 471 

Vanity. — Look for flourish beneath signature. 

Will Power. — Straight thick little bar under signature; thickly 
crossed T's; purposeful-looking hand; no return to tails of G's 
and Fs. 

In conclusion, one might truthfully say that the more closely one 
studies the handwriting of one's friends, the more converted must one 

am* <L> (jr~*~**( . 

Very intelligent, quick-tempered, imaginative, impulsive, very refined, gen- 
erous, yet knows the value of money. 

become to the belief in Graphology. Go slowly. Compare carefully. 
Remember always that human beings inevitably suffer from the faults 
of their qualities, therefore search and you will be rewarded by the 
enthusiasm of those to whom you give your delineations. 



CHAPTER LVIII 

A SUCCESSFUL CHILDREN'S PARTY 

A Word to Grown-Ups 

It is undoubtedly one of the hardest tasks imaginable to give a success- 
ful children's party, and the reasons that militate against success are 
legion. 

In the first place children are the keenest of critics; secondly, that 
which interests a mite of three will bring boredom unmitigated to the 
" fellow of ten," while the maiden of twelve and the " man " of fifteen 
have very strong views of their own on the subject of amusements. 

A children's party, then, is not an undertaking to be approached 
lightly. It is of course an easy matter to hire the services of a ven- 
triloquist or a conjurer or some public entertainer for the afternoon, 
and leave the rest to luck, yet how many hostesses have come to grief 
on the rocks of such an enterprise. 

And let it be remembered that it is an absolute impossibility to 
provide an entertainment that will appeal equally to children ranging 
from three to fifteen. Only a section will appreciate the show. Far 
better to let the youngsters be their own entertainers. 

It may of course be presumed that no one will dream of giving a 
children's party who is the occupant of a very small house. Twenty 
children want more room than fifty adults. This is a truism that can- 
not be too strongly emphasized. 

Having fixed upon the date for your party and having sent out the 
invitations, you will, wise general that you are, take complete stock 
of your field of campaign, and make up your mind that at least four 
rooms will have to be more or less gutted to receive the host of youthful 
invaders you are about to summon forth. 

Let it be supposed that you have in your house three sitting-rooms. 
The dining-room will be the refreshment room, the parlor, stripped 
of all breakables and needless accessories, for the older children to play 
in, the morning room to be converted into a dressing-room. Upstairs 
it will be as well to transform a bedroom into a play-room for the tiny 
tots and their nurses. 

472 



A SUCCESSFUL CHILDREN'S PAP.TY 473 

There is one fatal mistake that hostesses are sometimes guilty of 
in giving a children's party, — they ask their guests to come too early 
and send them away too late. The secret of success with children lies 
in the one hackneyed sentence : " Enough is as good as a feast." Chil- 
dren are easily tired, and they can crowd into three hours as much 
healthy enjoyment as would certainly not be the case were another hour 
to be given them. If your young guests leave you with regret you do 
not want any more thanks; if they fly to get their coats and hats, all 
your labors, no matter how sincere and arduous they may have been, 
will have been spent in vain. 

From four till seven p.m. will be found quite long enough, with 
tea at half-past four. Here again lies another fatal pitfall. Avoid 
kickshazvs! — digestion-ruining cream cakes and jam puffs particularly. 
Bread and butter, chocolate biscuits, plain cakes, and sponge cakes pro- 
duce no ill effects. Such advice as this may provoke a scornful laugh 
from the would-be hostess who reads these lines. " Teach me how to 
feed children!" I hear her say. "What presumption!" Yet it is 
homely advice that is the most useful, the most disregarded when all 
is said and done. 

Tea Time 

Half-past four will be found a good time for tea. Soon after five 
the healthiest hunger will have been appeased, and then, having " let 
digestion wait on appetite," marshal your guests into the drawing-room 
and allow them to " fall to " to amuse themselves. 

Let the revels be of the simplest. If there is one game children 
love more than another it is Musical Chairs, and as there cannot be a 
person living who does not know that historic pastime, there will be 
no need to describe it in detail. 

However, among your young guests you will be sure to find one 
or two boys who do not care to play the game, yet who can be made 
exceedingly useful in another way as " umpires." Most boys of four- 
teen or fifteen have a great sense of honor when games are under con- 
sideration; let two boys, then, be the arbiters of the sport — let them 
decide whether, when the music stopped, Tommy found a seat before 
Johnny, or whether Billy was too rough when he pushed Mary aside 
and took the seat that should have been hers. You will have no need 
to grumble at the impartiality or the reverse of the young umpires. 

After Musical Chairs, what better than Blind Man's Buff, a game that 
never stales, made more exciting if " Buff," after having caught a 
victim, fails to identify his prey, and must therefore pay a forfeit to 
be chosen by his captive? Children love forfeits. 



474 HOME FUN 

Hissing and Clapping, Dumb Crambo, Acting Proverbs — there is 
no end to the games that children love. And let them choose their 
own. You will add a thousandfold to the success of your party if 
you allow your guests to please themselves, and by so doing you will 
give yourself far more pleasure than would be the case if you " fussed 
about " arranging, directing, ordering. Children love responsibility as 
much as "grown-ups." 

Above all, remember that " Boys will be boys." It is only with 
the greatest tact that you will be able to eliminate the boisterous ele- 
ment, which will crop up now and again in the best regulated parties. If 
you can enlist in your services some jolly bachelor who loves children, 
and who can romp with them as a child, you will have solved the prob- 
lem of keeping down the rowdy element. A man of this stamp can 
work wonders with an obstreperous youngster, can smooth out the 
creases in your handiwork, can keep things at concert pitch, and if at 
the end of the party he is a worn-out and exhausted wreck — being who 
he is, he won't mind. 

So seven o'clock comes. The time for farewells has arrived. Wraps 
and coats must be put on, and the little ones, flushed, excited, happy, 
are dispatched to their various homes. 

" Thank you so much, it has been fun." " We've had a ripping 
time, thank you." " It's been splendid." Such thanks as these will 
repay you for three hours of babel and pandemonium, for all the fore- 
thought and tact you have brought to bear on a by no means too easy 
task. 



CHAPTER LVIX 

PARLOR GAMES 

For Christmas Parties 

At Christmas parties, at which guests of all ages are found, it is some- 
times a perplexing riddle to the hostess to know how to entertain them 
all. Musical items which may delight the older members of the com- 
pany may only serve to render younger folk restless and dull, and 
dancing is not always possible in rooms of limited size. Moreover, 
there are still many young folk who are unable to set their feet nimbly 
to waltz and two-step, and would much prefer a romp to whirling round 
in time to a measure. 

Self-consciousness and shyness are usually very evident when the 
party enters the drawing-room, and this coating of ice, if not thawed 
quickly, will rapidly freeze into impenetrable restraint and gloom. At 
such times a good game, quickly organized, is invaluable. The rules 
should be explained by the hostess in so simple a manner that the 
youngest person present can follow them, and everything necessary 
should be arranged beforehand to avoid awkward delays and pauses. 

The Clothes-pin Game 

The players are formed into two lines a few feet apart; at the top 
and bottom of the lines are two tables upon which as many pins as 
there are players are placed, and exactly divided into two heaps. The 
hands of all are crossed at the wrists. The first players of each line 
use the second player's right hand to pick up a pin. The latter in the 
same way passes it to the next player, and in this manner it goes 
through the lines to the table at the end, upon which the last players 
place it. Meanwhile, of course, the first players are sending other pins 
down the rows. 

The line that succeeds in removing all the pins in the heap from 
one table to the other in the shortest time wins the game. The fun lies 
in the awkward manipulation of one's neighbor's hand. Should a pin 
be dropped in the process, it must be picked up by the umpire and 

475 



476 HOME FUN 

returned to the top table, and throughout the game the wrists must be 
kept crossed. 

Proverbs 

One of the party retires while the rest decide upon a well-known 
proverb. When he returns, he stands in the center of a semicircle. 
Some one taps three times with a stick, and at the third tap each player 
shouts one word of the proverb loudly and simultaneously. This is 
repeated three times, and it is amazing how difficult it is to distinguish 
even the most well-known proverb in the uproar. 

Should one word give the key to the player not in the secret, the 
individual who speaks it takes his place. For instance, in the proverb, 
" All is not gold that glitters," it may happen that the word " glitters " 
provides the keynote. Therefore, he or she who speaks it takes the 
place of the one who guesses. 

The proverb must contain as many words as there are players, and 
each shouts only the one word allotted to him. 

The Game of Shadows 

A white sheet is stretched against the wall, with a lamp immediately 
before it. All other lights are extinguished. One of the company sits 
on a chair or stool with eyes fixed on the sheet. Behind him the com- 
pany files noiselessly, the while he endeavors to identify them by means 
of the shadows silhouetted on the screen. 

Simple disguises are allowable and increase the fun. For example, 
a boy may don a girl's hat, a girl a boy's; or a skirt or shawl may be 
draped over a boy's suit, thus concealing the wearer's identity. The 
one whose shadow betrays her takes the place of the player who identi- 
fies her. 

Gardeners 

Two rows, headed by a chosen captain, face each other. In turn 
they fire at each other the names of vegetable, flowers, or fruit, begin- 
ning with the letter A, and using in turn the other letters of the alphabet 
— asparagus, artichokes, apples, &c. 

The players on each side set their wits to work to aid their captain 
when he shows signs of faltering. They are not allowed to speak aloud, 
their promptings being given in whispers, and this is where the fun 
comes in, for, when one is excited and eager to give a word, it is very 
difficult to remember to whisper, especially when placed at the tail of 
the line. 

When a gardener and his side pause to remember a word the 



PARLOR GAMES 477 

opposite side counts twenty slowly; if at the end of that time their 
opponents still fail they forfeit a man. The game goes on until one 
captain has secured all his adversaries' followers. Should any one 
except the leaders speak aloud, he or she is obliged to cross to the other 
party. 

When a captain surrenders he is obliged to go to the end of the 
line, and the next man takes his place and responsibilities. Wild flowers 
or plants are not allowed. 

Tidings 

Each player adopts some trade or profession. One member reads 
out the social gossip from a daily paper. When he pauses and points 
at one of the rest, that one must reply quickly some sentence regarding 
his calling or the stock he sells, for instance — 

Reader. — The ball that took place at the residence of the Hon. 
Mrs. Mortimer last evening was distinguished by the presence of the 
President. 

A number of debutantes were present, the majority of whom were 
dressed in — Here the reader glances at the carpenter, who answers, 
" Shavings." 

Reader — " Their headgear consisted of (glances at the fruiterer) — 

Fruiterer — " Pine-apples." 

Reader — " Their jewels were necklaces (glances at the ironmonger) — 

Ironmonger — " Of nails." 

Reader — " The dancing took place in — 

Tobacconist — " A cigar box." 

Reader — ■" The walls of which were richly decorated with — 

Lawyer — " Red tape." 

Reader — " The band was composed of forty instruments all — 

Doctor— ■" Medicine bottles." 

Reader — " The President's first partner was — 

Fishmonger — " A codfish." 

Reader — " Who was most becomingly clad in — 

Druggist — " Silver scales." 

Reader — " Her bouquet was composed of — 

Dry Goods Merchant — " Spools of cotton." 

Reader — " And her tiny feet were cased in — 

Mason — " Bricks." 

Reader — " Her dancing was as light as — 

Plumber — " A gas escape." 

Reader — " And her charming smiles showed to view a perfect set 
of- 



478 HOME FUN 

Bootmaker — " Black heels." 

It can be imagined from this example the merriment and laughter 
similar answers evoke. 

The Lawyer 

The party is divided into two rows, through which walks the lawyer. 
He asks a number of questions, and the answers may contain any 
words except " yes," " no," " white," " black." 

The person to whom he puts his query does not reply, but the one 
immediately opposite does. 

The lawyer exchanges places with the one who makes the first 
mistake. 

An Example 

Lawyer (pointing to Mary) — "Your hair is very long; is it your 
own? " 

Tom opposite bawls " false." 

To Jessie — " Do these pretty boots pinch your feet?" 

Jack — " Of course, they are two sizes too small." 

To John — " Did you use your razor this morning? " 

Jane — " He hasn't any hair to cut." 

To Timothy — "Is your nurse waiting to put you to bed?" 

Elsie — " Naturally — he goes to bed at seven." 

To Dick — " What would you like on your next birthday?" 

Ethel— " A rattle." 

To James — " What is your favorite pastime? " 

Alice — " Putting dolly to bed." 

To Freda — " What is the color of your face? " 

Andrew (afraid to say " white " for fear of forfeit) — " Green." 

Cabbages 

Any number of players can take part in this game. They kneel in 
a circle on the floor with fingers stretched out before them and thumbs 
tucked in. 

The game is started by the leader's query to her neighbor : " Can 
you play cabbages?" 

As the latter has not been initiated into the mysteries of the game, 
she at once replies — 

" No." 

The question is asked by each player, and is always answered in 
the negative until the circle is completed, when the leader again 
queries : 



PARLOR GAMES 479 

" Can you play cabbages ? " 
Neighbor—" No." 

Leader (suddenly) — " Then why on earth are we sitting here? " 
The blank expressions which result in this query are ludicrous in 
the extreme, and are followed by bursts of merriment. 



The Lover's Coming 

All the members of the party save one are massed together at the 
end of the room. The leader walks close to them, and throws a light 
rubber ball towards any person she likes. 

The person must be prepared to catch the ball. As the leader throws 
it, she accompanies the action with these words, " My lover comes 
thus " — the ball is tossed in a way to illustrate the manner of the 
supposed lover. The thrower terminates her sentence by a letter of the 
alphabet. The one to whom the ball is thrown has to provide an 
adjective beginning with the given letter as she catches the ball — thus : 

Leader — "My lover comes g" — (throws ball). 

Catcher — " Gayly " — (tosses ball back). 

Leader — " My lover comes h." 

Catcher — " Hopping." 

Leader — " My lover comes o." 

Catcher — " One-eyed." 

Leader — " My lover comes s." 

Catcher — " Smirking." 

Excitement is caused by the difficulty in producing a word at a 
moment's notice, and being ready to catch the ball at the same time. 



Telegrams 

Each player is provided with «paj>er 
twelve letters are written, with sufficieri 

The leader gives a topic, such as a 
&c. A watch is placed on the tableman 
given, during which each player concocts a tel 
supplied by his left-hand neighbor. 

At a signal, the telegrams are thrust under a* 
turn by the leader. 

Example 1 . — Topic : a sensational robbery. 



s. 


B. 


O. 


B 


H. 


M. 


J. 


P. 


K. 


I. 


P. 


H 



which any 
words, 
vitation, 




480 HOME FUN 

From these letters may be devised the following telegram: — 

" Serious burglary ; one box hairpins missing. Jane prostrate ; kindly 
inform police — Henry." 

Example 2. — Topic: a catastrophe. 



c. 


A. 


S. 


D. 


p. 


B. 


c. 


A. 


B. 


Q. 


D. 


W. 



" Cat ate Sunday dinner. Please bring cheese and bread ; quite 
distracted — Wine." 

The funnier the telegram, the greater the laughter when it is read 
out. 

The Fan Fight 

The players divide into two lines. A piece of tape is stretched 
across the room, and before every two players a feather is placed. 
Each player possesses a Japanese fan, and the object is to lift the 
feather and waft it on to a stretch of newspaper, which marks the 
opponents' den. 

The dens are guarded by goal-keepers, also armed with fans, and 
their business is a lively one. 

Feathers must not be blown, or pushed with the hand, as happens 
sometimes when the excitement of the game makes one forgetful of all 
else but the threatening direction the feather is taking. Only the fan 
is to be used. 

The feathers should be of different colors. When one of a side 
succeeds in driving a feather into the opposite den, he and his adversary 
retire from the gam e,|JMggnatu rally they share the prevailing excitement 
and watch every movement of their respective sides, cheering and 
encouraging them to wi-n. 

When the feathers belonging to one side are all captured in a den, 
the other side is conqueror. 

Panama Canal 

On^)f the company is chosen as director, and addresses the com- 
pany in some such way as this : — 

" Ladies and Gentlemen, — It having been discovered by the director 
of the Panama Canal Company that the water of the canal is often 
disturbed to a dangerous degree by means of the passionate sighs and 
turbulent emotions of the passengers cruising upon it, they have decided 



PARLOR GAMES 481 

that a penitentiary tax shall be levied upon all ships containing lovers, 
and that, for every kiss given, toll shall be exacted." 

The company now pass slowly before the director, who asks each 
questions as to the name, destination, cargo, number and description 
of passengers, and any other questions relating to vessels which may 
occur to him. 

No answer must contain the letter K, for this being the initial letter 
of " kiss " is forbidden, and the person who uses it is obliged to pay 
any forfeit demanded by the captain. 

A few questions and answers might run like this: — 

Captain to passing figure — 

"What have you in your ship?" 

" Tomatoes." 

" Where do you hail from ? " 

" Liverpool." 

" To which port are you sailing? " 

" Boston." 

" Have you any girls on board," &c. &c. 

Of course, the captain's aim is to force " the ships " to introduce the 
letter K in their answers. 

The Longest Line 

This is a good competitive game. Men and boys should stand with 
their feet on a chalked line. Each must stoop down to a half-sitting 
position, and with the left hand resting on the knee and the right hand 
inserted beneath the right leg, draw a line as long as possible without 
rising or using the left hand. 



Musical Buf 




Station a person in each corner of the^apa^pment. Then blindfold 
one of the party, and lead him to the center. * 

The master of the ceremonies points to each of the four itf succes- 



sion, and each says in a clear separate tone the word " Come." 

When the word has been said by each in turn, the blind man en- 
deavors to find his way towards the person who spoke first. 



Magic Hieroglyphics 

For this seemingly mysterious achievement a confederate is required. 
He must know that — 



482 HOME FUN 

A is shown by one tap, because it is the first vowel. 
E two taps " second vowel. 

I " three taps " " third vowel. 

O " four taps " " fourth vowel. 

U " five taps " " fifth vowel. 

Consonants are revealed by means of sentences, which the wizard 
speaks in a natural and unostentatious manner. 

The confederate is banished from the room while the party decide 
upon the word he shall be called upon to guess. Monosyllables are 
preferable. 

When he returns the wizard is armed with a wand, by means of 
which he proceeds to make imaginary pictures on the carpet. 

Supposing the word to be orange. He begins with four taps, and 
the confederate, who is all attention, knows that the word begins with 
the fourth vowel, O. 

The wizard, flourishing his wand, remarks with extreme innocence : 

" Rather fatiguing work, as you perceive." 

The confederate says to himself R. 

One tap is the next sound for A. 

And some sentence such as — 

" No one can imagine the mental strain," supplies the letter N to 
his alert companion. 

The wizard's query, voiced in a mocking tone, 
" Getting near it? " supplies the letter G. 

A few more imaginary pictures, and two taps, which represent letter 
E, and the confederate with an air of profound relief wipes his brow 
and declares confidently that the word is orange. 

Result. — The company applaud loudly, and is thoroughly mystified. 

The Auction Game 

This is a most fascinating resource for a wet wintry afternoon, 
and its preparations are interesting enough to keep a whole houseful 
of young folk occupied and amused. A large piece of cardboard is cut 
into twenty-five squares, and on each is pasted a picture of some article 
taken from advertisements in old newspapers, magazines, or catalogues. 
The pictures are numbered, and on the back a price in keeping with the 
article is written. 

The more variety there is among the stock for sale the better. It 
may contain anything from a thoroughbred Persian to a set of nine- 
pins, and the prices may be copied from the catalogues, &c. 

When this is done, a mint of paper or cardboard money is manu- 



PARLOR GAMES 483 

factured. The range of coin corresponds to the prices of the articles. 
Should the most expensive of these be marked $500, the paper money 
must include that amount. Upon each disc of cardboard is written its 
value. 

The guests having arrived, the capital is divided among them in 
equal portions. If there has been no time to manufacture the coin, 
imitation money can be purchased quite cheaply, and this lends a greater 
reality to the game. 

The first thing is to secure an auctioneer amongst the party, 
who possesses a ready flow of language, and is not troubled by 
shyness. An amiable uncle, or other grown-up relative, will do 
capitally. 

The auctioneer stands on a chair or stool, and cries out the article 
before him, treating it as if it were real. 

He is provided with a hammer, and the company begin an eager 
bidding for the thing that takes their fancy. 

The players, as may be expected, are as anxious as people in a real 
auction to obtain what they covet at the lowest price possible. 

Should a member offer more than he is able to pay, and succeed 
in -being the last to name the highest price, he pays a forfeit of ten 
cents to each of the other buyers, and the article is again placed on the 
auctioneer's table. 

The winner is the individual who has got the best value for his 
money, and has the most capital in hand by the time the twenty-five 
articles are sold. 

It is a good plan to offer prizes — a good one for the discreet and 
careful buyer, and a "booby" for the poor foolish spendthrift, who 
has nothing to show at the end of the game. 

Excitement and eagerness are increased by the cry of the auctioneer, 
" Going, going, gone ! " and the beat of his hammer. 

If he is able to introduce funny narratives concerning the articles 
into his harangue, so much the better. 

For instance, a pair of boots, fashioned from the corpse of the 
King of Prussia's pet calf, and the black kid gloves which King Charles 
II. wore at the funeral of his great-aunt; the mouse-trap that once 
held prisoner a rodent of aristocratic lineage and purple blood; the 
ash-tray, into which the burnt cigar of Peter the Great is supposed to 
have fallen — all should go at a high price. 

The Whistle 

Another excellent game is played in the following manner. 

One of the company is blindfolded, and a long ribbon, through 



484 HOME FUN 

which is threaded a whistle, is pinned to his back, and he is told that 
he must catch the blower and discover the whistle. 

Of course, he has no idea that it is on his own person. 

He is swung into the center of the room, and his playmates make 
surreptitious dives at the whistle and raise it to their lips, taking care 
not to stretch the ribbon so that he will feel the tug. 

Perfect silence should be maintained by those eddying round him; 
they move on tip-toe, with bated breath, but now and then sounds of 
stifled laughter are heard. 

The " blind " man seeks high and low for the possessor of the 
whistle, his ears strained to catch the direction of the sound. He may 
succeed in embracing a youth or damsel, but his search round her neck, 
waist, or in her fingers for the missing whistle is futile. 

It will be long ere he guesses the secret, if he ever does, and the 
delight of young and old at his expense is hilarious. 

The Blind Brothers 

All who are unfamiliar with this mysterious game are banished from 
the room and brought in separately. 

The master of ceremonies blandly invites each to be seated on one 
of two chairs placed back to back and touching each other; the other 
chair is occupied by one of the initiated in the performance. A sheet 
is thrown over the couple, and round them circle those of the guests 
who are aware of what is to happen. 

One of the two blind men, the confederate, is secretly armed with 
a light roll of paper. 

To the strains of the pianoforte, the other players march round. 
Suddenly the individual who has been brought in feels a light tap on 
his head; he should at once cry out to his companion — 

" Brother, I'm balked." 

The confederate immediately replies, "Who balked you?" 

The other tries vainly to guess. 

Presently his companion bangs his own head, and wails in 
distress — 

" Brother, I'm balked," and the other replies — 

" Who balked you?" 

It is long before the guileless brother guesses that the assault comes 
from the arm of his relative lifted out of the sheet. 

Should he fail to do so in a given time, another victim is called in 
to take his place ; he joins the circle moving round the chairs, and 
sees for himself the manner in which the poor unsuspecting "brother" 
is deceived. 



PARLOR GAMES 485 

The Poets' Corner 

This is an excellent and ingenious pastime for young men and women 
who have outgrown the old-world games of " Hunt the Slipper " and 
" Hide and Seek." 

The " poets " are each given a slip of paper and pencil, at the head 
of which they write any question they like. When this is written, the 
papers are folded, so that the sentence is concealed, and passed on to 
the left-hand neighbor, who, without looking at the question, writes 
any word she likes beneath so long as it is a noun. This is again 
concealed, and passed to a third party, who must compose a rhythm 
or stanza, which includes both question and noun. As "these have no 
relation to each other, some ingenuity is needed to link the two in a 
verse. 

For example, suppose the question given is as follows : — 

Question — What is the time? 

Noun — Chair. 

Verse. 

" What is the time? " Grandfather asks, 

This is one of the pleasant tasks 

He sets the children from his chair. 

And round eyes at the timepiece stare. 

Little Alice reads the time — 

The old clock helps her, and chimes out nine. 
Or— 

Question — What is your age ? 
Noun — Cigar. 

Verse. 

Cigar, cigar, 
What is your age? 
Wrinkled and brown, 
Reserved as a sage. 
Till you rest on my lip, 
And the light is set 
To your tip. 
What is your age? 
Your eye glows bright 
With the spark of youth. 
Come, answer with truth! 
The cigar replies, 
Time flies, 



486 HOME FUN 

An hour perchance 
I may live, 
The ashes show 
The span of my age. 
I am calm philosopher, 
Thoughtful sage. 

Jack's Going Strong 

" Jack " is a piece of firewood, held in the flames until its tip 
glows. It is then passed from hand to hand among the players. 
Each says, as he receives the smoldering torch, " Jack's going 
strong." The aim is to get rid of "Jack " before the spark dies. The 
player, who is obliged to own that " Jack is dead," is compelled to pay 
a forfeit. 

" Jack " should be a long stick, held out at arm's length, so that, 
if he falls by accident, he will not burn holes in party dresses. The 
floor should be without a carpet. There is much fun and excitement 
to be gleaned from this simple game, as no one wishes to have " Jack's " 
corpse on their hands. 

Name Divinations 

This is a clever puzzle game, which seems to the beholder to be 
steeped in magic and mystery. In order to discover the name or 
birthplace of a person, the following table of five columns is 
necessary : — 

(i) (2) (3) (4) (5) 



A 


B 


D 


H 


P 


C 


C 


E 


I 


Q 


E 


F 


F 


J 


R 


G 


G 


G 


K 


s 


I 


J 


L 


L 


T 


K 


K 


M 


M 


U 


M 


N 


N 


N 


V 


O 


O 


O 


O 


W 


Q 


R 


T 


X 


X 


s 


S 


U 


z 


Y 


u 


V 


V 


Y 


Z 


w 


w 


W 






Y 


z 









PARLOR GAMES 487 

The manipulator shows the table to the individual whose name 
he wishes to discover, asking him to point out the column or columns 
that contain the initial letter. A glance at the table will show that 
if it is in only one column it must be the top letter. Should 
it be found to be in more than one, it is discovered by adding the 
first letters of the columns in which it is stated to be, the sum supply- 
ing the alphabetical position of the letter. For example, take the name 
Elizabeth. 

Elizabeth glances at the table and looks for the columns in which 
her initial letter occurs. It is obvious that she must be careful not to 
overlook its repetition. She informs you that it is to be found in 
columns i and 3. Now, the columns mentioned are topped by the 
letters A and D, which are the first and fourth letters of the alphabet. 
Add these together and you get 5. E is the fifth letter. In case you 
forget it, write it on a slip of paper. The next letter, Elizabeth informs 
you, occurs in columns 3 and 4. These are headed by D and H = 
4+8=12. The twelfth letter is L. Columns 1 and 4 contain I, headed 
by A and H= 1+8=9. The ninth letter is I. Z is found in columns 
2 and 4 and 5, headed by B, H and P=2+8+ 16=26. The twenty- 
sixth letter is Z. The next letter exists only in column No. 1, there- 
fore it is A. The next letter exists only in column No. 2, therefore 
it is B. The next letter exists only in columns 1 and 3. The top letters 
of these, A and D= 1+4=5. The fifth letter is E. 

T is found in columns 3 and 5. Top letters D and P=4+ 16=20. 
The twentieth letter is T. 

H occurs in column 4, therefore it is the top letter, H. 

Result — Elizabeth. 

Wizard Photography 

The wizard, who possesses a confederate, is banished from the 
room. During his absence the latter produces a piece of paper, and 
declares his intention of taking a photograph of any individual among 
the company upon it, in such a manner that it shall be visible to the 
wizard alone, who, upon examining it closely, will call out the name of 
the original. 

Naturally every one considers that this must be quite an impossible 
proceeding, and for that reason every one becomes very curious and 
watchful, making up his mind to discover the trick. 

The confederate fixes upon one of the company, poses her to his 
satisfaction, tells her not to look grave, &c, just as professional pho- 
tographers do, and when she is quite ready and gazing at the sheet of 
paper, which is held out in the manipulator's left hand, he passes his 



488 HOME FUN 

right over it, snaps his fingers, and tells her that the wonder is 
accomplished. 

He hastens to wrap the " plate " in his handkerchief, and, calling 
in the wizard, hands it to him, retiring to a seat where the latter can 
observe him without appearing to do so. The wizard, looking very 
mysterious and wise, bids the company maintain an unbroken silence, 
while he unwraps and examines the " plate." 

His confederate, meanwhile, imitates as nearly as possible the posi- 
tion of the original of the photograph. 

Should she cress her feet, toss back her hair, rest her chin on her 
hand, or perform any other trivial action, the confederate does the same, 
quite naturally so as not to rouse any suspicion or notice. All attention 
being concentrated on the wizard, his actions will not be observed by 
any one save the manipulator, who is led by the position he assumes 
to guess the individual whose likeness on the " plate " is supposed to 
be visible to him alone. 

Few would realize, until they try the game, the wonder and admira- 
tion of the guests, for the wizard who successfully achieves his purpose, 
and the means employed, are seldom, if ever, discovered. 

The Missing Ring 

A plain curtain ring is threaded through a piece of tape or ribbon, 
knotted at the ends. The guests form a circle round a central figure. 
The ring is passed swiftly along through hands gripping the tape, while 
the master of ceremonies counts one, two. 

At three, all fists must be threaded by the tape and perfectly 
motionless, and the man in the center, who is permitted to observe 
the circuit of the ring, is called upon to say which person has pos- 
session of it. Should he guess rightly, he changes places with the 
individual. 

Apples and Nuts 

Mix a number of hazel nuts and apples together on a table removed 
from the wall; hand a teaspoon and table knife to each of the guests. 
Bid them, at a given signal, move to the table, with the knife in the 
right hand, the spoon in the left, and scoop up one apple and one nut. 
This is no easy matter on a smooth surface, for the probability is that 
the fruit and nuts will roll to the floor. 

When they are secured they must be conveyed to a dish at the 
other end of the room. He who performs this feat successfully the 
most times wins, and the apples and nuts are awarded him as a prize. 



PARLOR GAMES 489 

Amiable Dog 

The party is divided into two lines. The first player begins by 
saying, " Our little dog is amiable." The first player on the opposite 
side must answer quickly with another adjective beginning with the 
same letter thus, " Our little dog is artful." Meanwhile, the first player 
counts ten. If in that time his opponent fails to respond he is obliged 
to go over to the opposite rank. Other letters of the alphabet may be 
used. The side that gains all the " men " wins. 



CHAPTER LX 

PARLOR TRICKS AND PUZZLES 

Tangrams 

One of the oldest and most fascinating puzzles comes, like so many 
quaint things, from the Far East where, over four thousand years ago, 
a learned Chinaman named Tan made the invention which forty cen- 
turies have been unable to improve or alter. Worthy of a civilization 
that invented Chess, Tan's puzzle has lived on unchanged through the 
ages, affording amusement and thought to men of such ability as Na- 
poleon, who, during his exile on St. Helena, used to spend hour after 
hour with the little black geometric figures. 

Take a perfect square of stiff cardboard of any size, say five inches, 
and see that the angles and sides are true. Now, very carefully mark 





Fig. i. — Showing dotted lines marked 
off for black pieces in tangram puzzle. 



Fig. 2. — Showing square dissected 
and numbered for tangrams. 



it off according to the dotted lines in Fig. I, which may be explained 
thus. ABCD is the square. Rule a line from B to C, and mark off 
M and H halfway between B and D and C and D respectively, and 
join M and H. Find G the midpoint of MH and join AG. Mark 
K and F, midpoints of CE and EB respectively, and join KH and FG. 
Having thus marked out the" card, take a very sharp knife and cut the 
cardboard along the dotted line. You will then have the seven pieces 
as shown in Fig. 2, which are numbered for convenience sake. Having 

490 



PARLOR TRICKS AND PUZZLES 



491 



colored these pieces dead black with India ink on both sides, you are 
ready to start the great Tangram Puzzle. • 





Fig. 3. — Showing original Tan presenting 
puzzle to his wife. 



Fig. 3a. — Showing how Tan can be 
fitted together. 

All these seven pieces must be fitted against e'ach other, never over- 
lapping, in order to make the figures of men, beasts, houses, or the like. 
Take for example Fig. 3, which shows the original Tan presenting 





Fig. 4. — Showing pieces fitted together Fig. 4a. — Showing how pieces are placed 
to represent figure in cocked hat. for figure in cocked hat. 

the puzzle. Fig. 3a shows how the good gentleman can be fitted together, 

as the numbers designate which pieces are to be placed against each other. 

The individual in the cocked hat who appears in Figs. 4 and 4a, is 



492 HOME FUN 

another example of how the pieces are to be put together; similarly 





Fig. 5. — Representation of 
depressed cat. 



Fig. 5a. — Showing construction of pieces 
for representation of depressed cat. 





Fig. 6. — Lady holding her 
skirts high. 



Fig. 6a. — Showing pieces fitted for repre- 
sentation of lady holding up her skirts. 



the depressed cat in Figs. 5 and 5a, or the lady in Figs. 6 and 6a, 



PARLOR TRICKS AND PUZZLES 



493 

Figs. 



who is holding her skirts up so high as she crosses the street. 
6b and 6c show a gentleman apparently tired of life. 

These seven pieces can be so disposed as to make hundreds of figures, 
giving scope for boundless ingenuity and skill. 

A good winter evening competition can be arranged by making 
several sets of Tangram pieces, and distributing one set to each member 
of the party. The name of some familiar object should then be 



an- 





Fig. 6b, 



-The gentleman tired 
of life. . 



Fig. 6c. — Showing means whereby depressed 
gentleman is represented. 



nounced (for example — horse — cat — washerwoman), two minutes being 
allowed for construction, and points given to the best Tangram. 

A variation can be introduced by taking a well-known nursery rhyme 
or fairy tale, and asking each person to make a Tangram to represent 
a different subject in the tale. Supposing " The Farmer's Boy " to 
be the rhyme, one person would make the figure of that youth, to another 
would fall the horse, to a third the dog, and so on. As in the former 
case a prize might be awarded to the most successful manipulator of 
the little black pieces. 



494 



HOME FUN 



A Scissor Trick 

Ask one of the ladies, who naturally knows all about scissors, to 
do the following trick. Holding the hands with palms upward, hang 
a pair of scissors on the little fingers, as shown in Fig. 7. The fingers 




Fig. 7. — How to hold the scissors. 



Fig. 8. — Showing fingers slightly bent 
and scissors sticking upright. 



should then be slightly bent so that the scissors stick upright as in 
Fig. 8; next ask her to turn the hands round rapidly back to back 
when the scissors will make a complete revolution, 
and should finally point upward again. But it 
is just at this point that the trick comes in, for 
the fair lady will find that instead of the scissors 
pointing up to the ceiling, they are directed down 
to the floor! (Fig. 9.) 

This is the occasion for you to show how really 
clever you are, and by bearing the following hints 
in mind it will prove a very easy matter. 

When the hands are in the position of Fig. 8, 

take care that the rings of the scissors are passed 

over the last joints of the little fingers only, so 

that a complete revolution can take place between the palms of the 

hands and the fingers themselves. To bring the scissors upright will 

then follow in the natural course of events. 




Fig. 9. — Position of scis- 
sors after complete 
revolution. 



Blowing through a Bottle 

Can you blow hard enough to make your breath pass right through 
a thick glass bottle? The majority of people will say " No," and dare 
you to perform the task. It is really very easy. 

Take a large round bottle or jam jar, and place a lighted candle 



PARLOR TRICKS AND PUZZLES 



495 



behind it, as in Fig. 10. Now stand so that the bottle or jar is inter- 
posed between yourself and the 
light, and blow. The flame will 
be extinguished at once! 

There is scarcely need to tell 
your surprised friends that the 
shape of the bottle has really 
caused your breath to follow the 
curve of the two sides, unite at 
the back, and blow out the light. 



A Safe Bet 




Fig. io. — How the candle flame is 
extinguished. 



Lay a dime, or a dollar 

if you feel so inclined, upon 

the palm of your hand, and promise to give it to whoever can brush 

it off with an ordinary clothes 
brush, as shown in Fig. n. 
The only condition you need make 
is that they shall brush towards 
the tips of the fingers and not to 
one side. 

You -need have no fear of the 
result, and can feel quite assured 
that your money is as safe as if it 
were in your own pocket. What- 
ever the explanation may be, the 
fact remains that no amount of 
will move the coin the 




Fig. ii. — The position of coin in palm 

hundredth part of an inch on your open palm. 



brushing 



Do NOT TOUCH THE COIN 



Place a dime upon a pol- 
ished table and ask one of 
your friends to pick it up with- 
out touching either the coin or 
the table. 

A glance at Fig. 12 shows 
how the trick is done. Slightly 
curve your hand so that it 
almost touches the table, and 




Fig. 12.- 



-Showing how coin is remov 
table. 



r ed from 
blow steadily upon the table at a distance of about five or six inches. 



496 HOME FUN 

The force of your breath passing beneath the coin will carry it into 
your hand. 

Quis Separabit? 

If there happen to be a newly-married couple amongst your friends, 
the following little trick may cause them a blush of happiness. 

Get them to fold their hands, as shown in Fig. 13, in such a way 
that the wedding-ring finger of the left hand, and the corresponding 





Fig. 13. — Hands folded. 



Fig. 14. — Thumbs separated. 



finger of the right hand, are doubled inwards as far as the second joint, 
and the knuckles of those joints press firmly against each other. 

Now, tell them to separate their two thumbs, as in Fig. 14, while 
you say, " Parents and children may be separated ! " 
Then let them do the same with the two forefingers, 
remarking, " Brothers and sisters may be separated ! " 
The same performance may be repeated with the two 
little fingers, and you remark, ." Even lovers may be 
separated ! " Finally, let them try to separate the 
two middle fingers, when they will find they cannot 
get them apart. Whereupon you state emphatically, 
" But husband and wife can never be divided! " 

Stick no Bills 




Fig. 15. — Paper be- 
ing drawn through 
arm to electrify it. 



Take a piece of coarse brown paper, the coarser 

the better, and warm it steadily before the fire. Now 

draw it rapidly a dozen times between your arm and 

your body, as in Fig. 15, so that it receives a good 

friction upon each side. Now press the paper against the wall, and 

you will find that it remains as firmly stuck as though a whole pot of 

the best paste had been used for the purpose. 



PARLOR TRICKS AND PUZZLES 



497 



A Mighty Voice 

A prophet is never without honor but in his own country, and 
few of your acquaintances will believe you to be such a wonderful 
person that with a single shout you can break a glass. Yet it is very 
easy to convince them. 

Take an ordinary wine-glass, and hold it by its foot firmly to the 
table. Make the glass ring with a touch of the finger (it will probably 
sound a rather low note). While the glass is yet tingling, raise it 
rapidly to your mouth, and shout the same note that it rang full into 
the bowl with all your force. The chances are ten to one that the 
glass will shiver to pieces. 

The reason of this phenomenon is the vibrations caused by the 
tingling are so suddenly increased by the strength of your voice that 
the glass is unable to bear the strain, and therefore breaks. 

A Genuine Match 

It is surprising how universal is the law of love! Even two plain 
pieces of wood are unable to resist the impulses of the great passion. 

Take out the bottom of a match-box, and split it into two pieces. 
Double over the ends at about a quarter of the way up, as in Fig. 16. 




Fig. 16. — Drawings in position. 

On one piece make the rough sketch of a girl, and upon the other a 
similar drawing of a man, and then place the pieces together, as shown 
in the illustration. 

If you pour a few drops of water over the joints of the two pieces 
of wood, you will find that the two figures slowly and surely rise up to 
meet each other, and will eventually press their two faces closely in a 
long kiss. They may be some time about it, but then pleasures delayed 
are always doubly enjoyable ! 



498 



HOME FUN 



The Dying Fish 

Cut a piece of deal into a prism about four inches long, and color 

two of the sides black or dark blue, 
painting the remaining side white. 
Sharpen one end into a small tri- 
angular point, and paint two eyes and 
a mouth thereon, so that the com- 
pleted figure appears as in Fig. 17. 
Now, if you put this in a basin 
of water very heavily salted, you will find that the fish floats quite 
naturally, as in Fig. 18, whilst if you place him in a basin of plain 




Fig. 17. — Completed figure of fish. 





Fig. 18. — "Dead" fish floating. 



Fig. 18a. — Fish on his back. 



fresh water, he will immediately turn on his back and float dead, with 
the white side uppermost, as in Fig. 18a. 

This is caused by the greater density of the salt water 
acting upon the prism. 

New-laid Eggs 

Here is a very handy method of discovering whether 
an egg is fresh or not. 

Pass an elastic band around the egg, and hang it upon 
a wire, as shown in Fig. 19. Twist the egg and band 
round several times, and then release it, when the band 
will rapidly untwist with the egg. If the latter be quite FlG - 1 9— 
fresh, it will stop almost immediately, but if it happens e g g hang- 
to be rather older than is desirable, it will twist and un- m ? on 
twist, reversing several times before it finally comes to 
rest. This applies to eggs which have been boiled — indeed to 
any egg that is " set." 




PARLOR TRICKS AND PUZZLES 



499 



A Will-power Test 

This is scarcely a trick, as it really serves to prove which of two 
persons has the stronger will-power. 

Place a door-key between the pages in the middle of a book in 
such a way that the handle projects an inch or two, as in Fig. 20. 
Pass a piece of string 
round the book, and 
draw into a tight knot, 
so that the key is held 
firmly in its place. 

Now, let the per- 
sons who desire to test 
the strength of their 
wills support the book 
by the ring of the key 
resting on their ex- 
tended forefingers, as 
in the illustration. If 
one person wills the 
book to turn from 
right to left, and the 

other wills it to turn in the opposite direction, it will be found that 
the book obeys whichever party is possessed of the stronger will. 

There is yet another way of testing this strange example of 
personal magnetism. 

Let one of the parties (preferably he of the stronger will) think of 
some name, Mary, for instance. Informing nobody else of the name 
he has chosen, let him repeat the alphabet very slowly, when it will be 
found that, as he arrives at the first letter, M, the book will give a slight 
turn, and will behave in a similar way for all the other letters of the 
name. If both parties know the name, the book will turn much more 
readily, as a result of the united forces of their wills. 




Fig. 20. — A will-power trick. 



The Magic Repeater 

This is an interesting example of some strange agency at work 
amongst us. 

Make a running noose at the end of a piece of fine thread, and 
pass it securely round a quarter, as shown in Fig. 21. Taking care 
that the thread passes over the tip of the thumb, support the thread 
from vour hand, in the manner shown in the illustration, in such a 



5°° 

way 
care 



HOME FUN 

that the quarter is hanging within a wine-glass or tumbler. Take 
also to keep the hand perfectly steady, and await results. 

For a few seconds the quarter will 
oscillate, but it will soon become quite 
still. Then, actuated by no motion of 
your hand, it will begin to swing to and 
fro like a pendulum, and will finally strike 
one of the sides of the glass. 

Counting the number of times it thus 
makes the glass ring, you will find that 
the number corresponds exactly with the 
nearest hour to the time of day. For 
instance, at 1 1 :2o there would be eleven 
rings, whilst at a quarter to twelve there 
would be twelve. 

The cause of this phenomenon can be 
left to scientists to decide. 



The Obliging Banana 



Fig. 21.— The magic repeater. It is rare that one can get a fruit so 

obliging as to peel itself, but upon certain 
occasions a banana will put itself out of the way to 
render this favor. 

Cut off one end of a banana, and with a knife 
just start ripping up the skin on the four sides in 
the usual manner. 

Now take an empty bottle, put some methylated 
spirit inside, and drop a lighted match to ignite 
the spirits. As soon as the flame has died out, 
place the prepared end of the banana in the mouth 
of the bottle, and you will find that the banana is 
slowly drawn inside, peeling off its skin as the fruit 
disappears (Fig. 22). 

The reason for this condescension on the part 
of the banana is simple. As soon as the bottle 
begins to cool from the heat of the flames, the air 
is contracted inside, a vacuum is caused, and the 
fruit is sucked into the bottle. 

The same trick can be performed with a water bottle and a 
shelled hard-boiled egg. 





Fig. 22. — The oblig- 
ing banana. 



PARLOR TRICKS AND PUZZLES 



5oi 



The Smoker's Fancy 

Although most ardent smokers will admit there is little pleasure 
in smoking in the dark, there are few who will not be surprised at 
the following trick. 

Induce a cigarette devotee to have his eyes bandaged, and make 
him moisten the ends of two cigarettes. Having lighted one of them, 
allow the victim to have a few whiffs and then take it out of his mouth 
and replace it by the unlighted cigarette. Continue changing the 
cigarettes in this manner for a few minutes, and you will presently 
find that he is quite unable to tell which he has in his mouth, and is 
quite at a loss to know whether he is puffing away at the lighted 
" cig." or not. 

The Mysterious Bands 

Take a full sheet of a large newspaper, e.g. the first and last pages 
(which make one sheet) of a paper like the New York Times, and cut 
three straight strips (a, b, c) about three inches wide, 
as shown in Fig. 23. Now join the ends of these 
strips in the following manner in order to make three 
loops. 

In the strip a bend round D, and paste it on to 
the under side of E. 

Make a loop of b in a similar manner, but giving 
the strip a half turn, and pasting the under side of F 
to the under side of G. 

In the third strip this twist is replaced by a full 
turn of the paper, so that H is pasted on the under 
side of N, as in the first instance. 

When making these bands it will be quite easy 
to conceal from the spectators the twists you have given to the paper; 



N 



a t> c 

Fig. 23. — The mys- 
terious bands — • 
first stage. 




Fig. 24. — Showing where to cut 
loops of paper. 




Fig. 24a. — Band cut into equal 
loops. 



and, indeed, the success of the trick depends upon this part of your 
preparation not being observed. 

Now comes the exhibition of the trick. Cut each of the loops into 



502 HOME FUN 

two, in the direction of the dotted lines in Fig. 24, when the following 
astonishing result will be obtained. 

The band a will be cut into two equal loops, as in Fig. 24a, the loop 
b will turn into one large loop twice the size of the original as in 




Fig. 24b. — Showing large loop twice 
the size of original. 




Fig. 24c — Showing loop C transformed 
into two links of a chain. 



Fig. 24b, whilst the loop C will be transformed into two links of a 
chain, as in Fig. 24c. 

It need hardly be remarked that the twists given to the original 
bands are responsible for this strange result. 

Sold Again 

Get some one to take a nickel out of his pocket, and, without 
showing it to you, ascertain the date of the coin, and then turn it face 
upwards on the palm of his hand. You will now remark that " you 
can tell the date." 

Appear to scrutinize the coin very attentively, and then, with the 
utmost importance, tell the owner of the penny the actual day of the 
month, and smile complacently at his indignation. 

Simple Subtraction 

If you have fifteen matches and remove six, how can you obtain a 
remainder of ten? 



i — 


1 

B 



c 

Fig. 25. — Showing first arrangement of matches 




Arrange the matches as in Figs. 25 a, b, and c, and ask a friend the 
above-mentioned question. 



PARLOR TRICKS AND PUZZLES 503 

When he gives it up, remove the six matches marked A, B, C, D, 
E, and F, and you will have the . — 



result shown in Fig. 26. 



A Tricky String Puzzle 

Take a piece of string about 
a yard Ions: and tie the ends to- 




Fig. 26. — Showing result when six matches have 
been removed. 




Fig. 27 



-Showing string upon extended 
thumbs. 



gether, making a loop. Passing 

this loon through the ring of a key, hang it upon the extended thumbs 

of a friend, as in Fig. 27. The 
strings are crossed. The trick is 
to remove the key without taking 
the string from the other person's 
thumbs. 

To understand the diagrams 
it will be necessary to remember 
the following explanations of the 
letters used in Fig. 28. 

A and B are the hands of 
the person just described whose 
thumbs bear the string. 

C and D are your own hands, 
left and right respectively. 
E is the hand of a third person who holds the key. 
F and G are the 
two sides of the loop. 

Begin by catching 
the string F on your 
little finger of C and 
G on the little finger 
of D, as in Fig. 28. 
Now transfer the string 
from the little finger 
of C to the thumb of 
B, and thus free your 
hand C. 

Between the fore- 
finger and thumb of 
B you must take the 
string G between the Fig. 28.— Second stage of string trick. 

key and A. 

Now catch this part you have taken round the thumb of B, slip 





5o 4 HOME FUN 

the string from the little ringer of D, and when E pulls the key, it will 

come quite free from the 
j± string (Fig. 29). 

A Sure Eye 

Stick a sharply-pointed 
knife, preferably with a 
heavy handle, into the 
lintel of the door, or into 
a wooden beam upon the 
ceiling. Then ask for 
some one with a sure eye 
to mark the exact spot 
on the floor by putting 

a cent upon it, where the knife will drop when displaced. 

This is easily done in the following manner. Take care that the 

knife is very lightly stuck into the wood, so that it will fall at the 

slightest touch. 

Fill a glass with water, ,and raising it to the knife immerse the 

handle to the height of an inch or so. Then watch where the drop 

of water, which will fall when you remove the glass, strikes the ground, 

place the cent upon the spot, and you will find that the knife will 

fall upon that identical place. 

" That is the Man " 

Fold a piece of paper into four, and cut a pointer out of it, as 
shown in Fig. 30. Now run a needle through a cork and balance the 



Fig. 29. — Showing mode of freeing key from string. 



^ 




Fig. 30. — The paper pointer. 



Fig. 30a. — Pointer mounted on cork. 



pointer on its tip, as shown. Place an inverted tumbler over the whole 
contrivance (Fig. 30a). 



PARLOR TRICKS AND PUZZLES 



505 



By rubbing the outside of the tumbler with a piece of rag, or even 
a handkerchief, you can make the pointer turn in whatever direction 
you desire, as it will swing round to whatever portion of the glass you 
happen to rub. 

Announce that you will make it point to Mr. Jones. If you 
then rub the glass on the side nearest to that gentleman, the paper 
needle will swing round and point directly to him. 

By rubbing the handkerchief rapidly round and round the glass 
the needle will be made to revolve with considerable speed, to the 
great delight of the younger members of the party. 



Needle-Threading Extraordinary 

Thread a No. 6 needle with a couple of yards of fairly coarse 
cotton or thread, and draw them through until the two ends are of 
equal length. 

Now pass the point of the needle right through the two strands, 
as in Fig. 31, and continue pulling the needle as in Fig. 31a until the 




^ 



Fig. 31. — Needle-threading Fig. 31a.. — Thread passing Fig. 31&. — Showing thread as 
— first stage. through itself. a continuous piece. 

threads have passed through each other and appear a continuous piece, 
as in Fig. 3 iZ?. This should have been done before showing the trick 
to the company. As there will be no knot, it is highly improbable 
that any one will notice a peculiarity in the thread. 

You then state that, without looking at the needle, you will thread 
it with as many strands of cotton as it will hold. Proceed in the 
following way. 



506 



HOME FUN 



Holding the needle with the point upwards beneath the table, out 
of sight of yourself and the others, catch one of the threads at a point 
between the eye of the needle and the point where they pass through 
each other, as in Fig. 32, and pull that steadily downwards. 

By doing this the invisible knot is passed through the eye, carry- 
ing with it two strands, and by continuing this action the knot is 






Fig. 32. — Showing point where thread Fig. 33. — Result of thread Fig. 33a. — Threaded 
is pulled steadily downwards. passed through eye of needle. needle complete. 

passed several times, until eventually a result similar to that shown in 
Fig. 33 appears. 

Drawing the knot to the bottom of this series of loops, you can 
then cut off all the ends as well as the knot, and present the threaded 
needle to your friends as it appears in Fig. 33a. 



The Magician's Bite 

Take an ordinary piece of string or thread, and offer to cut it in 
two if somebody present will guarantee to join it into one piece again 

without any knot. You 
may announce at the same 
time that by wizardry you 
are able yourself to do this 
by a simple bite of the 
teeth. 

The trick is done in 
this way. Appear to pass 
the string round the hands twice, as in Fig. 34, whereas by a deft 
movement, which can be acquired with a little practice, you really 




Fig. 34. — Showing string passed round hands. 



PARLOR TRICKS AND PUZZLES 507 

loop the two ends round each other, as in Fig. 34a. Holding the 
point where they cross each other between the finger and thumb 





Fig. 34a. — Showing ends of 
string looped together. 



Fig. 35. — Showing point where to cut 
string. 



(see H, Fig. 35), you request some person to cut the two ends at G, 

promising to join these ends with your mysterious 

bite. 

Place the string in both hands into your 
mouth, and whilst making a mumbling move- 
ment, contrive to catch the short doubled piece, 
G, H, in your teeth and retain it there, whilst 
extending your hands to the company you show 
a whole piece of thread, as in Fig. 36. The little 
piece which you have kept between your teeth 
can be easily removed without exciting suspicion, 
and there are few people critical enough to 
measure the string and find there is a piece missing. 




Fig. 36. — Showing whole 
piece of thread. 



A Trick in the Sunshine 

This trick can only be done on a sunny day, for a reason which 
will be very evident to 
those who try it. 

Obtain a clear glass 
bottle, in the cork of which 
stick a hooked pin. By 
means of a piece of thread 
hang a small weight from 
this pin within the bottle, 
as in Fig. 37, and then re- 
quest some one to cut the 
cord without drawing the 
cork. 

All that is necessary to 
do this is a magnifying 
glass which is placed be- 
tween the bottle and the 




Fig. 37. — Sun's rays focused on weighted 
thread. 



sun at the right distance to focus the rays of the latter upon the 



So8 HOME FUN 

cord. In a few seconds the heat of the converging rays will burn 
through the thread, and the weight will fall to the bottom of the 
bottle. In the same way you can 

Light a Cigarette Without Matches 

Concentrate the rays of the sun upon the end of the cigarette, and 
draw in the ordinary way (if you are old enough to smoke), when the 
cigarette will rapidly be ignited. 

Another String Trick 

Stick a penknife into a post or tree, or other strong upright of 
wood, and pass a piece of string behind the post and above the knife, 
as in Fig. 38. Bring the end C round the post and pass B over it. 
Bring C round again and cross it over the knife, and B round the 






Fig. 38. — Knife and string 
trick — first stage. 



Fig. 38a. — Knife and string 
trick — second stage. 



KvVvv 



Fig. 39. — Knife and string 
trick — third stage. 



knife over C, as in Fig. 38a. Pass the ends round the post again, 
always remembering that B must be over C, and then tie the two ends 
in a knot, as in Fig. 39. 

By removing the knife from the post, you will now find that the 
whole loop comes away intact, having never really been passed round 
the post at all. 



Try This! 

A candle can be lighted without approaching the match to the 
wick in this way. 

Light a candle in the ordinary manner, and take care that the wick 



PARLOR TRICKS AND PUZZLES 509 

is fairly long and burns brightly. Blow it out suddenly, and by 
applying a lighted match to the smoke at the height of an inch or two, 
the candle will instantly relight without your having to put the match 
to the wick. 



A Steady Hand 

If any of your friends boast of a steady hand, you can easily give 
their pride a fall by wagering that not one of them can move a glass 
of water from one table to another with- 
out spilling every drop it contains. F 

Fill a tumbler with water to the Z_ 
very brim. Place a piece of perfectly 
flat, stout paper on the top of it, as 
shown in Fig. 40, and the palm of the 
hand on the top of that. Now turn 
the glass upside down very quickly and 
carefully, and place it upon a flat part 
of the table, having done which slide 
the piece of paper from beneath it. As 

the air cannot enter none of the water escapes, but it will be absolutely 
impossible to move the glass without spilling the water. 




Fig. 40. — A water trick. 



CHAPTER LXI 

HOW WOULD YOU ? 






Puzzles That Please 

History records that the blind poet Homer lost his reason in a vain 
endeavor to solve a riddle, and from his days until these present times 

much care and thought have been 
expended in the invention of puzzles 
both difficult and simple. It is the 
object of this chapter to present the 
reader with a few simple ones. 

Two easy and yet fascinating 
puzzles can be worked with an ordi- 
nary checker-board. 



r. 






m 



<L_ 



7 



m 



k 



r~ 



i. The Traveling Checker 



Fig. i. — The traveling checkei 



Place a checker upon a square 
near the center of the board, as in 
Fig. i. In how few moves can you 
make it traverse every square in the board and return to its starting- 
point ? 



2. Another Checker Puzzle 

Place sixteen men on a checker-board in such a manner that no 
three men shall be in a line, either horizontally 
or perpendicularly. 




3. Joining the Rings 

Nine rings are connected by six straight lines, 
as shown in Fig. 2. Connect these same nine FlG - 2.— Joining the rings, 
rings by four straight lines. 

510 



" HOW WOULD YOU 



?" 



5" 



4. The Ten Rows 

This is a puzzle with nine checkers or counters. Dispose these 
counters in such a manner that ten rows are 
formed with three men in each row. 



5. The Cabalistic Sign 

Fig. 3 shows a piece of paper cut into a 
famous cabalistic sign. How can you divide 
it into four pieces which, placed together, shall 
form a square? 



n 



L5 



Fig. 3. — The cabalistic sign. 



6. The Dangerous Anarchists 

Once upon a time there were eight anarchists confined in separate 
cells connected by the system of passages shown in Fig. 4. The 
prisoners, each of whom had his own number, occupied cells in the 
order shown. 

One day the governor of the jail decided that his prisoners should 
be transferred from one cell to another in order that their numbers 



<b 






© 



8) 



'*> 



G) 



Fig. 4. — The dangerous anarchists. 



should run consecutively from left to right. Accordingly he gave 
orders for this to be done, but at the same time directed his warders 
that on no account were any two prisoners to meet, either in the 
passages or cells. As there was only one vacant cell at their disposal, 
how did the warders work this maneuver successfully? 

You will find the best way to solve this problem is to draw a plan 
similar to that shown in Fig. 4, and place eight numbered counters in 
the respective cells. 



512 



HOME FUN 



7. Catching the Donkey 

A man once wanted to saddle a donkey, and proceeded, bridle in 

hand, to the field where Ned was feeding. 

Let Fig. 5 represent the field, which the man entered by the gate 

at 63, whilst the ass 
was standing in the 
opposite corner at 2. 

Now you can move 
either the man or the 
donkey to any num- 
ber in the straight 
line, but neither must 
cross or rest upon a 
line covered by the 
other. For instance, 
if the donkey be at 2, 
the man can move to 
62, 61, 59, 36, or 13; 
but he cannot go to 
either 60 or to 5, for 
then the donkey would 
gallop up and let fly 
with his heels. Ned, 
on the other hand, can 
go to 6, 28, 51, 3, or 

4, but if he were to go to 60 or 5 the man at 63 would catch him at 

once. 

Giving the donkey the first move, how soon can you place the man 

in such a position that the ass is cornered and cannot escape being 

bridled? 

8. Like to Like 
Four black and four white counters are placed alternately in a row 

1 234 5 e 7 a 3 10 




Fig. 5. — Catching the donkey. 






• 


# 





• 





• 







Fig. 6. — " Like to like." 



of ten divisions, shown in Fig. 6. By moving two at a time, how can 
you arrange all the blacks and all the whites together in four moves? 



" HOW WOULD YOU 



?" 



5i3 



9. The Broken Chain 



a jeweler a gold chain, broken into five 
She asked him to repair the chain, 



pieces 
agree- 



A lady once took to 
of three links each (Fig. 7). 
ing to pay 25 cents for each 
link that he had to break and 
weld in order to restore 
the chain to its original 
length. 

The following day she 
sent her maid for the chain 
with 75 cents. If you had 
been the jeweler, how would 
you have mended this chain of five pieces by breaking only three links? 



-The broken chain. 



10. The Diamond Cross 

The same lady wished to have a diamond cross reset, and pleased 
with the intelligence shown by the jeweler, she decided to give him 
the work. 

But she was determined to give him no opportunity of cheating 



her, so she counted the stones from top to bottom 

(Fig. 8), and found there were nine. She then 

counted them from the bottom to the extremity of /\ /\ /\ /\ /^ 

each arm of the cross, and found that they also ^ V V V \/ 



o 
o 



numbered nine. Having noted these figures, she sent 
the cross to be reset. 

But the jeweler was a crafty man, and knowing 
how she had reckoned the diamonds, he stole two, 
and having reset the remainder, he returned the 
finished piece of work. 

When she received her cross, the lady thought 
it looked rather different, and counted the stones 
according to her former plan. The numbers were 
exact ! So she paid the jeweler, who went off smiling. 

How had he managed the theft? 



o 
o 



o 
o 
o 

Fig. 8. — The dia- 
mond cross. 



11. The Quarrelsome Railways 

Five competing railway companies decided to place termini in a 
certain small town. But land was dear; and after much negotiation 
they were able to secure sites only as shown in Fig. 9. 



5H HOME FUN 

But none of the companies would grant any of its competitors 
running powers over its lines, and as the municipal authorities decided 

that all five lines should enter the city side 
by side, the engineers found themselves con- 
fronted with the following problem : — How 
is each line to reach its destination without 
crossing any of its competitor's tracks ? 

How would you extricate them from this 
dilemma ? 




12. Another Railway Problem 



Fig. 9. — The quarrelsome 
railways. 



In 



This problem is shown in Fig. 10 
the railway A, B, C there are two sidings, 
A, D and C, E; which meet at F. At this 
latter place there is only sufficient space to contain one car of the 




Fig. 10. — The second railway problem. 



size of G or H, and there is no room for the engine, I. Conse- 
quently, if this engine is sent up either of the 
sidings it must return by the same tracks. 

The point to be discovered is : How can 
the engine, I, transpose the two cars G and 
H, by simply using the rails shown in the illus- 
tration? 



13, The Miter 

Study Fig. 11 closely, and think how you 
can divide a piece of paper thus shaped 
into four similar parts. 




Fig. 11. — The miter. 



" HOW WOULD YOU ? " 



5i5 



Solutions 

1. The Traveling Checker 

You cannot make the checker traverse all the squares in less than 
sixteen moves, as shown in Fig. 12. 





Fig. 12. — Solution to traveling 
checker. 



Fig. 13. — Solution to second checker 
puzzle. 



2. Another Checker Puzzle 

The way to place the sixteen pieces so that no three are in a line 

in any direction, can be seen from Q r \ 

Fig. 13. 



3. The Rings Joined 

The nine rings can be joined by 
four lines, as shown in Fig. 14. 

4. The Ten Rozvs 

The complicated geometrical figure 
shown in Fig. 15 shows the ten rows 
formed with nine counters. 




Fig. 14. — The joined rings. 



5. The Cabalistic Sign 

By making the two cuts shown in Fig. 16, the piece of paper will 
be divided into four parts that will fit together into a square. 



5i6 



HOME FUN 



6. The Dangerous Anarchists 
The simplest method of rearranging the prisoners was as follows 
(as there was only one vacant cell at any time the numbers designate 
which prisoner was moved therein) — i, 2, 3, 1, 2, 6, 5, 3, 1, 2, 6, 5, 3, 
1, 2, 4, 8, 7, 1, 2, 4, 8, 7, 4, 5, 6. 





Fig. 15. — The ten rows. 



Fig. 16. — Solution to cabalistic sign puzzle. 



7. Catching the Donkey 
According to the rules of the game, the donkey moves first, and 
the following is one of the shortest methods by which the man can 
catch him. It will doubtless amuse you to find other, and probably 
quicker ways of cornering Ned. 

Donkey to 3 Don. to 3 Don. to 5 

Man " 36 Man " 8 Man " 12 

Don. " 2\ Don. " 4 

Man " 30 Man " 7 

When the man has driven the ass into the corner at 5, of course 
there is no more chance of escape, and Ned has to submit to the bridle 
with resignation. 

8. Like to Like 
Moving two men at a time, the four moves are: — 
2 and 3 moved to spaces 9 and 10 



The counters will then appear as in Fig. 17. 



1 


2 


3 


4 


5 


b 


7 


8 


9 


10 


1 




• 


* 


• 


• 


O 


O 


O 


O 



Fig. 17. — Solution to " Like to like " puzzle. 



HOW WOULD YOU 



?" 



517 



9. The Broken Chain 

To repair the chain the jeweler had recourse to a very simple 
device. Breaking the three links of one of the pieces he used them to 
join the remaining four pieces, thus restoring it to the original length. 



10. The Diamond Cross 

The owner of the diamond cross thought she had been very 
clever in counting the stones as she did, but her cunning overreached 
itself, for the jeweler had only to remove the diamonds of the extremi- 



o 
000 
o 
o 
o 
o 
o 
o 
o 





Fig. 18. — Solution to 
diamond cross puzzle. 



Fig. 19. — Solution to the quarrel- 
some railways puzzle. 



Fig. 20. — Solution to 
miter puzzle. 



ties of the cross-piece, and shift this latter up one point, as in Fig. 18, 
to make his theft almost unnoticeable. You will find the diamonds 
count nine, even though two stones have been removed. 

11. The Quarrelsome Railways 

After much surveying and discussion, the railways laid their lines 
as shown in Fig. 19. 



12. The Other Railway Problem 

The following is the simplest method by which the engine could 
transpose the cars G, H. 

I pushes G into F, and returns and pushes H up to G. The two 



518 HOME FUN 

cars are then coupled together, drawn down to C and pushed over 
to A. G is then uncoupled, and I takes H back to F and leaves it 
there. I then returns to G, pulls it back to E and leaves it there. I 
then returns to H by way of C, and draws it down to D, thus com- 
pleting the task. 

13. The Miter 

A glance at Fig. 20 will show how the miter can be divided into 
four similar parts. 



CHAPTER LXII 

SOME OPTICAL ILLUSIONS 

When Seeing Eyes are Blind 

" But, I tell you, I saw it; surely I can trust my own eyes! " 

How often have we heard this uttered as a conclusive proof of 
some friend's statement ! 

And really at first it would seem to be an assertion admitting of no 
further question, were it not for the fact that we know our eyes are no 
more infallible than anything else in this world, and are quite as liable 
to make mistakes as are our memories. 

It is true that eyes are good and faithful servants, fit to be trusted 
in ninety-nine cases out of a hundred, but like all good and faithful 
servants there is that hundredth case when their judgment goes 
wandering, and when they leap to rash conclusions, carried away 
by deceptive appearances. 

Strange as it may seem, upon certain occasions, the best eyes are 
actually blind! If you shut one eye and hold the page with Fig. i 
at arm's length, you will be 

able to see both the spots A ■ I 

and B. Now look steadily at « 

A, and you will still see B A 

quite plainly, but if you gradu- Fig. i — When two are one. 

ally draw the book nearer to your eye, a certain point will be 
reached when B becomes invisible, although if you continue to make 
the book approach your face B will spring into view once more. 
In other words, at the moment when you could no longer see B 
your blind spot had been directed towards it, and of course saw 
nothing. 

No doubt you would like to know where this blind spot is, and 
why our eyes should possess such a thing. Fig. 2 shows the section 
of an eye which can be explained in very simple terms. The thick 
black line A is a sheet of nerves which entirely envelops three- 
quarters of the eye, and meeting in a point at E passes upwards into 
the brain, where it records what the eye has seen. The light enters 

519 



520 HOME FUN 

between the points C C, the iris, and striking through the lens B 
throws all objects within the scope of vision upon what is called the 

retina or screen, D. Now this screen is 
furnished with millions of little nerves, each 
one of which records on the large nerve A 
whatever is thrown upon it, and all these 
records are gathered together by A and 
passed up to the brain. 

But at the spot E, where these big 

nerves are collected together, the retina, 

as you notice, is pointed, and gives no 

record of what is thrown upon it. So, 

you see, when any object happens to come 

into such a position with the eye that its image is cast upon the 

point E of the retina, we have no record sent to the brain — in other 

words, we cannot see it. 

But the eye is not only blind in one point; it is very apt to be 
deceived by appearances, and to make all kinds of mistakes in conse- 
quence. Take Fig. 3 for instance. Would you not say that B D is 




Fig. 2. — Section of the eye. 



B 



Z 



\ 




Fig. 3. — Is A C longer than B D ? 



shorter than AC? Yet if you measure them you will find they are 
the same length. Or in Fig. 4, A B is surely longer than C D. They 
are identical. Or take Fig. 5, A is clearly farther from B than C 
is from B, and yet A B and B C are of the same length. 

The truth is that your eye is so confused by these different lines 
that it is wholly unable to form any clear estimate of how great the 
distances really are. This is shown even more clearly in Fig. 6 
(technically known as Zollner's lines), where you see AB and CD, 
which have every appearance of being about to meet shortly in 



SOME OPTICAL ILLUSIONS 521 

the direction of A C. Now if you will measure the distances between 



> 



B 



< 



< 



> 



Fig. 4. — Which is longer — A B or CD? 



B D and A C you will find that the lines are exactly parallel, but the 



A B c 

Fig. 5. — The distance from A to B is the same as B to C. 
eye has been so deceived by the little cross lines running in different 




^^ 



^^ 



B 




Fig. 6. — Zollner's lines. 



directions, that it seems incredible the two thick lines are not inclined 
towards one another at quite a considerable angle. 



522 



HOME FUN 



Hills that Don't Rise 

Should it ever happen that you go cycling in France, you will find 

this deception practiced upon ' your 
eyes all day long. The roads in 
that country are very straight, and 
are bordered upon either side by 
tall trees, so that from wherever 
you stand a long avenue stretches 
before you to a point where the 
trees seem to merge into one 
another, as parallel lines invariably 
appear to do. But flat as the 
country may be, you will always 
find yourself confronted with a 
gentle incline, as it seems, very 
slight but none the less perceptible. 
You brace for a long and steady 
climb, _ yet somehow, as you cover 
the ground, the hill seems always 
before you and yet there is no 
noticeable ascent. The reason is 
simple. There is no ascent. The 

borders of trees, like the little lines in Fig. 6, deceive the eyes in 

a similar way until it is almost impossible to believe that the hill is 

merely an optical illusion, and that the 

road is flat as the proverbial pancake. 
There is another trick the eye is 

very fond of playing us. A straight 

line, held on a level with the eye 

appears very much shorter than it 

really is. Look at Fig. 7, which 

appears to represent a number of pins 

lying with their points towards you. 

Now lift the book to the level of the 

eyes, close the right one, and they will 

appear to be sticking upright in the 

page. "*kiiy 

What a jumble of lines there is Fig. 8 — 

in Fig. 8, something like a spider's 

web, and one can make nothing out of it. But lift the book up, as in 

the last example, and close one eye — the letters are plain enough, are 



Fig. 7. — The standing pins. 




RM 



U Pfil 



" Yes or no 



i» 



SOME OPTICAL ILLUSIONS 523 

they not? You have played a trick on your own eye, and made its 
habit of shortening lines serve to interpret a message that would 
otherwise be unintelligible. 

The Stars don't Twinkle 

Every cloudless night the eyes make a mistake that we can easily 
discover, but which we are totally unable to remedy. 

Of course you have looked up to the sky thousands of times and 
seen the stars twinkling. Not only that, but if the night is clear you 
can see they are stellate, or star-shaped, like the starfish which is 
named after them. You can see both of these things, and yet the 
strange fact is that neither of them is true ! 

The stars do not twinkle at all, and they are not stellate. The 
twinkling is the result of the intervening atmosphere, and not 
the fault of our eyes; but the second error can be easily brought 
home to our untrustworthy organs of vision by the following 
experiment. 

Take a piece of tinfoil and prick a small hole with the point of a 
pin. Now when it is dark put a candle behind the tinfoil in such a 
way that the light comes through the tiny hole. Hold the tinfoil 
about ten inches from your face, and the hole will appear irregular. 
If you bring it nearer, it will lose even the least resemblance to a hole 
and appear as a star! Of course you know perfectly well that it is 
round, but your eyes have deceived 
you once more in the same way 
that they deceive you every starlight 
night, and the little hole looks some- 
thing like Fig. 9 — varying slightly with 
each individual observer. This de- Fig. 9.— The illusion of the stars, 
ception, or to put it charitably, this 

mistake of the eyes, is given the very high-sounding name of " irregular 
astigmatism," but for all that it is an illusion pure and simple. 

Like many well-trained servants, the eyes are quite at a loss if 
anything contrary to the usual routine is presented to them. They 
know perfectly well the laws of perspective, — how in the ordinary 
course of nature these laws are never broken by a hairbreadth. They 
are therefore accustomed to judge in the fraction of an instant the 
size of an object by its apparent distance away. That this is the result 
of practice can be easily seen from the fact that very young creatures 
— human and otherwise — have no idea of the relative distances of 
objects, and strain to touch a distant gas-light, or, like a young calf, 
rush headlong into a neighboring wall which their green young 




524 



HOME FUN 



fancy deludes them into thinking is really some distance away. But 
as we grow older we learn many things, and perspective amongst 
others. 



The Dwarf, the Man, and the Giant 

Now if we make a drawing such as Fig. 10, which represents three 
men walking down a passage, our eyes know quite well that if all 
these men were of the same size, Mr. Jones in front would appear 

smaller than Mr. 
Smith behind him. 
And Mr. Smith in 
his turn would ap- 
pear smaller than 
Brown who closes 
the procession. 

Yet in our illus- 
tration Jones ap- 
pears a veritable 
giant, towering 
above Smith and 
making Brown ap- 
pear a mere pigmy. 
If you measure 
them, you will find 
they are all three 
the same size. 

The reason of 
the deception is this. 
The lines showing 
the passage disap- 
pearing into the 
far distance imme- 
diately suggest to 
the eye the correct 
perspective, and, 
knowing the laws of that perspective, the eye is perfectly convinced 
that if all three were the same size, Brown in the rear would appear 
proportionately bigger than Jones. As he does not do so, the eye 
immediately leaps to the conclusion that he must be very much 
smaller. It therefore telegraphs to the brain that Brown is a dwarf, 
following in the tracks of an ordinary man and a giant ! 




Fig. io. — The dwarf, the man, and the giant. 



SOME OPTICAL ILLUSIONS 



525 



Color Illusions 

Most of us know the result of turning a series of circles (as 
in Fig. 11) horizontally with the eye. The circles appear to revolve 
rapidly round their center, and in different directions. This is 
solely because the eyes become confused, giving one more proof, were 
it needed, that they are no more infallible than anything else on this 
wide earth. 

Some very interesting experiments in color illusions can be 
made. So cunning is the deception played upon us by our eyes, it is 





Fig. 11. — Revolving circles. 



Fig. 12. — The color top. 



extremely difficult to believe that some of the tints we see in the 
experiments are but imaginary. 

In Fig. 12 you see a top which can be constructed of cardboard 
in this way. Take a postcard and cut a circle, upon which you 
draw a diameter as A B. Black the part A C B with India ink, and 
divide the other half into four equal portions by lightly penciling 
the radii G E, G D, and G F. Now, still using your India ink, make 
arcs in these four divisions in the same way as is shown in the figure. 

Having done this carefully and rubbed out the pencil radii 
when the ink has dried, put a pin through the center G from the 
back, so that the card can easily revolve whilst the pin-head pre- 
vents it from falling off. Your color top is now ready. Make it 
turn rapidly upon the pin; look closely at the card and what do you 
see? The inner circles become red and the outer ones blue! And 
yet you know perfectly well that the only colors really upon the card 
are black and white ! 

You can make another top, after a similar fashion. Cut your 



526 HOME FUN 

postcard as before, making one half of it black. Now, out of the 

white side, cut a segment with an angle of 45 degrees, leaving a little 

piece near the center as shown in Fig. 13. This piece you have 

left has nothing to do with the effect, but is 

iafe|w simply to make the top revolve better. 

^. Take an ordinary book, of which the 

/N. ^l printing is presumably black, and revolve 

/ >*/*' ' I & tne t0 P u P on the pin at the rate of about 

/ ^^^^B ■ ^ ve turns a second (a sharp twitch with the 

I nP I finger will do this perfectly well). If you 

\ W look at che printing now you will find the 

\ W l etters are colored red, as though the book 

\. WF had been printed in red ink ! 

\^^^ jppr In both these experiments the alterna- 

_ „, , ' t , tion of black and white has not only confused 

Fig. 13.— To make black . , L , . . , . . x J . , 

print red. the eye, but has deceived it into seeing colors 

which do not really exist. 

So we have shown very conclusively that the old proverb, " all 
is not gold that glitters," can be applied to even the plainest of 
black and white; and, as the poet remarks, " things are not what 
they seem." 

Therefore, when people wish to impress you with the evidence 
of their own eyes and clinch an argument by stating that they saw 
such and such a thing and cannot be wrong, show some of these 
optical illusions and demand a better proof of what they affirm, 
very courteously assuring the dogmatist that the best of eyes are 
liable to make mistakes. 



CHAPTER LXIII 

CIPHERS AND CRYPTOGRAMS 

Successful Systems of Secret Writing 

From the earliest times secret writing has been considered no less an 
art than a necessity. Innumerable have been the systems invented 
and the means employed to insure the secrecy of messages and 
instructions. Yet in the passage of time by far the greater number 
of these methods of cipher has become obsolete and practically useless, 
failing in most cases to comply with the three great necessities which 
Bacon declared to be indispensable to all ciphers and cryptograms: 
(i) Easy of reading and writing; (2) difficult of solution; and (3) 
void of suspicion. 

Ciphers may be generally divided into two branches — code ciphers 
and letter ciphers. The first of these terms refers to systems so 
arranged that one group of characters represents several words or 
sentences, whilst the other term designates those cryptograms where 
each letter in every word has its corresponding symbol. 

As letter ciphers are the more usual, and certainly the handier of 
the two classes, examples are given of some systems which have been 
successfully used at different times and for different purposes. 

The simplest of all methods, and, for that matter, the easiest to 
be detected, consists in having an arbitrary list of numbers, one of 
which shall represent each letter in the alphabet — e.g., A appears as 4, 
B as 8, C as 12, &c. 

This plan can be varied by substituting letters for the numbers, 
and having each letter of the alphabet represented by another letter 
— e.g., A being substituted by G, B by L, C by Q, and so on; but the 
disadvantages attending these very simple ciphers are so great that 
for a message of any real importance the system is useless. 

In the same way the expedient of reversing the alphabet and 
making A represented by Z, B by Y, C by X, is too simple and 
generally known to require further description. 

One of the easiest and earliest ciphers is shown in Fig. 1. This 
is written in the following manner: The " bounding " lines in which 
the desired letters are contained are drawn and the position of the 

527 



5 a8 



HOME FUN 



letter in them indicated by a dot. Taking, for example, Fig. i, A 
would be one dot, B two, and C three dots inscribed inside the 
two lines forming the angle. Thus the word CIPHER would be 
written ^J ^\ ("TJ 7TJ TJjJ J!T!| 

At this point it might be remarked that in all the examples 
here given the letters are arranged in their simplest order — that of 
alphabetical sequence; whereas, for practical purposes, they can be 
arranged in any form desired, the more complicated the better. To 



ABC 


JKL 


5TU 


DEF 


MNO 


vwx 


GHI 


PQR 


YZ 



djv 


aom 


epu 


his 


bmr 


iy 


gkf 


cpx 


fn3 



Fig. i. — One of the earliest 
ciphers. 



Fig. 2. — Another arrangement of 
cipher shown in Fig. i. 



illustrate this Fig. 2 shows another arrangement of the letters, by 
using which the same word would appear 171 JT J^# "^ I* JTTT] 

An example of another simple cipher created merely by the trans- 
position of letters is shown in Fig. 3, which can be read by taking the 
first letter of the first line, the last letter of the last line, the last letter 
of the first line, and the first letter of the last, then the last letter 
of the first line, the penultimate letter of the last, and so on. When the 
letters in Fig. 3 are properly transposed they will 
be found to read " A very simple cipher." 

Lord Bacon invented a cipher composed of 
two letters only, which, although confusing to the 
uninitiated, is somewhat too cumbersome for any 
general use. Supposing the two letters decided 



a y p e 1 e 

c e p 

h r i 

r m 1 s v 



upon to be A and B, they are grouped into series Fig. 3. — Transposi- 
of five and employed in the following manner: The tl .°" of letters 
first letter in the alphabet, A, is represented by 
AAAAA, B becomes AAAAB, C appears as AAABA, D as AABAA. 
Using this combination, the same word " cipher " would be written 
AAABA, BBAAA, BBBBB, AABBA, ABAAA, BBBAB. 

Amongst the easy ciphers must be mentioned that shown in Fig. 4, 
which is used thus : In the center block of small type you find the 



CIPHERS AND CRYPTOGRAMS 529 

letters of the word you wish to write in cipher. Suppose it to be 
TO-MORROW. Now in the vertical column at the side you find 
that the letter on a line with " t " is A, whilst the letter at the top of 
the vertical column is G. Therefore the cipher letters for " t " are AG. 
The next letter, " o," is on a line with B and under E, so the cipher 
letters are BE. In a similar way " m " becomes CD, and, proceeding 
with the remaining letters in the same fashion, we obtain the whole 
word written in cipher thus : AG, BE, CD, BE, BF, BF, BE, CG. 





A 


B 


c 


D 


E 


F 


G 


n 


A 


a 


d 


g 


k 


n 


<* 


r 


X 


B 


b 


e 


h 


1 





V 


uv 


y 


C 


c 


f 


• • 


m 


P 


s 


w 


z 





1 


2 


3 


4 


5 


1 


a 


b 


c 


d 


e 


2 


f 


g 


tl 


• 

1 


3 


3 


k 


I 


m 


n 


O 


4 


P 





r 


s 


f 


5 


uv 


IU 


X 


T 


z 



Fig. 4. — The " two-letter " cipher. 



Fig. 5. — The Nihilist code. 



Russian Nihilist Code 

An adaptation of the last-mentioned system is shown in Fig. 5, 
where the letters at the side and top are replaced by numerals. This 
method is very much in use amongst the Russian Nihilists, who would 
therefore write the sentence "Plot discovered" as follows: 41, 32, 
35, 45; 14, 24, 44, 13, 35, 51, 15, 43, 15, 14. 

This, again, can be very much complicated by multiplying each 
number by the position held by the letter in the word. Thus in the 
sentence just put into cipher, P is the first letter in the word " plot," 
L is the second, O the third, T the fourth, whilst in the next word 
D is the first, I the second, &c. You therefore multiply the ciphers 
in the first word by 1, 2, 3, 4 respectively, and deal similarly with 



Frf 



^ 



A B C D E F 



CHIcJKLMNO P/ORSXUVWXYZ, 



Fig. 6. — A musical cipher. 



those of the second word. The sentence thus treated would appear — 
41, 64, 105, 180; 14, 48, 132, 52, 175, 306, 105, 344, 135, 140. 

To read this the system must be reversed, and each number divided 
by its position in the word. 

A useful form of musical cipher is shown in Fig. 6, which explains 



530 HOME FUN 

'tself. In using this system it is usual to separate the different words 
>y dividing the notes into bars, as can be seen from a glance at 
? ig. 7. Here it will be noticed that only crotchets and minims are 



I 1 1 _ 1 ,^1 m — 



' ■3^1 "' -v ' " 'iql 



a 



M EET M E t ON IGHT 

Fig. 7. — A musical appointment. 

used for ciphers, whilst the other notes introduced have no signifi- 
cance, only serving the purpose of confusing whoever has sufficient 
curiosity to pry into the message. Therefore, discordant as the 
passage may sound to the wrong person, it probably makes very 
sweet music to whoever has ears and eyes to understand its meaning. 

Before proceeding to more complicated ciphers, that known as the 
fractional may be mentioned. This is a very simple method, and 
easily learned. The letters of the alphabet are divided into groups 
of five as shown in Fig. 8, each group being marked successively up 

1 3 3 

abode f ghij klrnno 



1 2 3*4 5 4 2 3 4 5 

Fig. 8. — The fractional cipher. 

to five, and each letter in the group treated in the same way. The 
numerator is used to designate the group to which the letter belongs, 
whilst the denominator shows the individual letter in that group. 

Adopting this method the word CIPHER therefore appears as in 
Fig. 9. As numerals above 5 do not appear in this cipher any more 

124214 10 29 43 28 10 ^7 

3 4 13 5 3 38 40 16 39 56 39 

Fig. 9.— The word "cipher." Fig. 10.— Complicated fractional cipher. 

than does the figure o, they can be added at will to complicate the 
appearance of the cryptogram, as shown in Fig. 10, where the same 
word is shown with the addition of meaningless numerals. 



CIPHERS AND CRYPTOGRAMS 



53i 



The Sphinx 

Now to turn to more scientifically constructed ciphers, such as 
have been employed by various Governments in correspondence with 
their ambassadors and secret servants. 

The Sphinx Cipher, shown in Fig. 11, is based upon a key-word 
of six or seven letters, previously arranged by the parties concerned 





A 


B 


c 


D 


E 


F 


G 


H 


1 


j 


K 


L 


M 


N 





p 





R 


s 


T 


u 


V 


w 


X 


YZ 


B 


b 


C 


d 


e 


f 


% 


h 


i 


J 


h 


I 


m 


n 


O 


p 


p 


r 


5 


r 


U 


V 


M 


x.v 


2 


a 


A 


c 


d 


e 


f 


g 


h 


i 


J 


k 


I 


m 


n 





P 


p 


r 


S 


r 


u 


V 


1U 


X 


V 


2 


a 


b 


b 


d 


e 


f 


e 


h 


i 


J 


K 


I 


m 


ii 





P 





r 


s 


r 


u 


V 


U) 


X 


^ 


2 


a 


b 


c 


F 


e 


f 


a 


h 


i 


J 


k 


I 


m 


11 





P 


p 


r 


s 


r 


u 


V 


ID 


X 


V 


z 


a 


b 


c 


d 


O 


f 


S 


h 


I 


J 


k 


I 


m 


n 





P 


P 


r 


s 


t 


ii 


V 


u; 


X 


3/ 


z 


a 


b 


c 


a 


e 


U 


g 


h 


1 


J 


k 


I 


m 


n 





P 


P 


r 


s 


r 


ii 


V 


w 


X 


V 


z 


a b 


c 


d 


ef 


R 


h 


i 


J 


k 


I 


in 


n 





P 


P 


r 


3 


r 


li 


V 


w 


X 


^ 


'Z 


a 


be 


d. 


e 


f g 



Fig. ii. — A Government cipher, called the " Sphinx." 

A key-alphabet is written in full at the top of the plan, and against 
each letter of the key-word a complete alphabet is written as shown 
in the figure. 

Suppose that the key-word chosen is BALFOUR, and that the 
message to be sent is WAR DECLARED LEAVE NOW, the key-word 
is then applied to the message thus : — 

WAR DECLARED LEAVE NOW. 
BAL FOURBALF OURBA LFO 

You then find in the top row the first letter of your message, which 
is W, and you see that the letter on a line with B and under W is X, 
which will be the first letter of your cipher. You then find A above 
and A by the side, which will give you C. You then find R above, and 
in the L horizontal column is its equivalent U. Proceeding thus 
with your message you arrive at the cipher, which reads: XCU 
HJISBTHH QKHWG QSB. 

To read this it is only necessary to write the key-word under the 
cipher and reverse the proceeding. 

An ingenious cipher, used by the War Office of a well-known 
Continental Power, is partially shown in Fig. 12. 

On two adjacent sides of a square entire alphabets are written, 
commencing at any letter (in the figure they begin at K in one and S 
in the other). Against each letter of the perpendicular alphabet the 



532 HOME FUN 

entire twenty-six letters are written horizontally, beginning with A and 
continuing in order. Leaving the first of these horizontal alphabets 
simple, against the remaining twenty-five, small alphabets are written 
as you will see in the figure, which shows the plain alphabets and five 
letters so treated. 

The cipher is used in this way. The letters in each word of the 
message are divided into couples. These couples are found in the 



- 


K 


L 


M 


N 


O 


P 


P 


R 


S 


T 


U 


V 


W 


X 


Y 


z. 


A 


B 


C 


d|e 


F 


G 


H 


I 


J 


s 


A 


B 


C 


D 


E 


F 


G 


H 


I 


J 


K 


L 


M 


N 


O 


P 


D 


R 


s 


TU 


vw 


X 


Y 


z 


T 


Aa 


B* 


c^ 


V* 


E* 


Fa 


Ga 


Ha 


la 


Ja 


K^ 


E a 


Mf 


N* 


Q 


Pa 


P a 


R* 


s a 


Ta 


Ca 


Va 


Wa 


x* 


Ya 


Z* 


U 


Ab 


Bb 


Cb 


Db 


Eb 


Fb 


Gb 


Hb 


lb 


Jb 


Kb 


I? 


M b 


Nb 


Ob 


Pb 


Ob 


Rb 


S b 


T* 


Ut 


VbVbXbYb 


Z b 


V 


A<^ 


B c 


CC 


D c 


E c 


Fc 


Gc 


He 


Ic 


Jc 


K c 


L c 


M c 


N c 


CK 


Pc 


0c 


R c 


s c 


Tc 


Uc 


Vc 


Wc 


* 


Yd c 


w 


Ad 


B* 


ca 


Da 


Ed 


Fd 


Od 


Hd 


Id 


Jd 


W 


L d 


M a N d 


d 


Pa 


Pa 


R* 


s d 


Td 


Ud 


Yd 


MQ 


X 3 


V 


z a 


X 


Ac 


Be 


o 


Df 


Ee 


Fe 


Ge 


He 


Ie 


Je 


K € 


L e M? 


N e |(K|Pe0e 


R e 


s e 


Te 


UeVeWe 


Xe|Ye|Z e 



Fig. 12. — Another Government cipher — still in use. 



doubled alphabets in the center of the cipher scheme, and the key- 
letters at the side and top show the actual cipher equivalent. 

Suppose it is desired to put into this cipher the words CABLE 
CODE. Dividing the letters into couples CA, BL, E. CO, DE are 
obtained. Finding the combination CA, it is simple to ascertain that 
the index letters are TM, which is therefore the cipher. BL is EL, 
whilst the remaining letter E from the top alphabet is found to be SO. 
Treating the word CODE in the same way the ciphers prove to be 
HM, XN, and therefore the message is transmitted thus : TMELSO 
HMXN. 

So far an idea has been given of the systems of cipher from the 
simplest methods to the most complicated of political cryptograms. 
Although the actual details are necessarily hidden, it may be assumed 
as a positive fact that the most secret political ciphers now in use by 
civilized Governments are but adaptations of one or other of the 
methods described. 



CHAPTER LXIV 

SECRET SIGNS 

Friend from Foe 

In a condition of affairs where every man's hand was against his 
neighbor's, the necessity of being able to tell friend from foe was 
more urgent than in these peaceable times. 

When plotting was rife upon every hand, and one man possibly 
held the lives of many confederates in his power, knowing that an 
incautious word of his might doom them all to punishment and pro- 
bably death, it became of paramount importance to have some means 
of discerning allies from enemies. 

Obviously the means of finding out such important information 
must be such as to awaken no suspicion in the event of a mistake, 
whilst on the other hand there should be no possibility of a stranger 
inadvertently obtaining possession of the secret. 

From earliest times the formation of Secret Societies has neces- 
sitated the invention of Secret Signs, and in nine cases out of ten, it 
may be said, the extinction of the societies from one cause or another 
has resulted in the loss of their secret signs of recognition. 

There are, however, even now, several Societies or Fraternities 
whose members are possessed of certain signs whereby they can know 
each other, and in several cases they claim lineal descent from some 
of the old fraternities whose origins are lost in antiquity. 

However, now that universal liberty, especially in this country, has 
abolished the necessity for concealment, secret political societies have 
disappeared, and with them their complicated systems of signs, tokens, 
and pass-words. 

In certain colleges and schools societies still exist, and as a secret 
bond is held by many to be a very effective link in the dearest of 
friendships, below are given a few suggestions to enable you to invent 
some secret signs which shall be a tie between yourself and such 
friends as you may consider worthy of initiation into their meanings. 

Like verbs, secret signs may be roughly classed into active and 
passive. Active signs are those which are given by movements of the 
limbs or contortions of the face, whilst passive signs are connected 

533 



534 



HOME FUN 



entirely with the disposal of parts of the clothing or the wearing of 
various objects attached to the person. 

Amongst active signs, the readiest in execution are those per- 
formed by the hands in view of the person, whose attention it is 
desired to attract, e.g., the signs can be given at the moment of shaking 
hands, where such a ceremony is observed. 




Fig. i. — A handshake sign. 



" Shakes " and " Passes " 

In this latter case a very good " shake " can be obtained by press- 
ing the thumb firmly against the back of the hand, as shown in 

Fig. i. This will arouse no 
suspicion in anybody ignorant 
of the meaning, though, if re- 
ciprocated, it forms an excellent 
sign of recognition. 

The variety of passes that 

can be executed with different 

meanings is astonishing. Yet 

it should be remembered that, 

although outsiders may not know what you are saying, it will always 

be apparent that " something is up," and a very undesirable curiosity 

will be awakened. 

On the other hand, there are many little actions, unnoticeable in 
themselves, which may have a great meaning to those " in the know." 

A simple stroking of the eyebrows 
(Fig. 2) is to all appearances a harmless 
movement, but in the secret signs of 
a well-known society it meant that 
treachery was in the air, and every 
person in the room would have to be 
watched. 

In a certain Italian Society, clasp- 
ing the forehead with the left hand as 
though in extreme weariness (Fig. 3) 
implied : " Be cautious, you are being 
watched." A similar action with the 

right hand meant : " We are known, make your escape as best you 
can; leave me alone." 

In the same society, when a member found himself in a mixed 
assembly, and desired to ascertain who amongst the guests belonged 
to his fraternity, he would stroke his left cheek thoughtfully with 
extended first and second ringers, as in Fig. 4. 




Fig. 2. — An eyebrow sign. 



SECRET SIGNS 535 

The brethren of a very respectable society, which still flourishes, 
are generally credited with knowing each other by a peculiar flourish 
of the hand when removing the 
hat, in a somewhat similar manner 
to that shown in Fig. 5. Others 
make the ceremony of blowing 
the nose of like importance. 

There used to be a famous 
Italian Secret Society divided 
into several classes or degrees, 
each of which had its own 
especial sign. For the first 
three degrees these signs were 
as follows: — 

1st. The right hand is raised 
to the shoulder, and then passed 
slowly down across the body to 
the left knee. 

2nd. The right hand is placed 
upon the left shoulder, then Fig. 3— The sign of an Italian secret society, 
drawn slowly down the left arm 
until it reaches the hand. Thus clasped they are raised to the breast 

3rd. The right hand is clasped, the thumb and little finger ex- 






Fig. 4. — The " cheek " sign of an Fig. 5. — The hat flourish. 

Italian secret society. 

tended. The former is placed against the lips, whilst the latter touches 
the breast. 

Those who desire to invent secret signs should avoid all those 
dependent upon an unnecessary action, like the hat-flourish. It is 



536 HOME FUN 

more satisfactory to apply the secret to some everyday action which, 
from its very unobtrusiveness, will attract the attention of no stranger. 

Members of certain religious secret societies to this day distinguish 
one another by a peculiar style of cross, worn as a pendant from the 
watch-chain, whilst a pass-word is current amongst them to enable 
them to test those whom they meet wearing the symbol. 

The use of flowers in the button-hole is a very common method of 
• attracting recognition, whilst a development of the same idea is seen 
in the wearing of different colored neckties or ribbons, which in a 
crowd will pass unnoticed save by those whose attention is desired. 
Yet to both of these systems a certain danger is attached, for there is 
always the chance of some unsuspecting person quite inadvertently 
wearing the same flowers or colors. 

Every one has heard of the language of flowers, but it is surprising 
to what an extent this can be carried by enterprising young ladies 
with a good collection in the garden or green house. 

It has been frequently proved that some safeguard is a necessary 
addition to the sign, and this safeguard usually takes the form of a 
pass- word. Repeated after the sign has been given, this word serves 
to show that the secret sign was neither given by accident nor picked 
up through curiosity. 

Pass-Words 

Pass-words, and the methods of giving them, vary considerably. 
The word, which must of course be known to all duly intrusted with 
the secret, should be of two syllables. 

One party called A says the first syllable, and the other person B 
repeats the second, then saying the whole word. Supposing the pass- 
word chosen be Oxford, A would make some remark introducing the 
word Ox, whilst B, replying in a similar vein, would mention the last 
syllable " ford " and conclude by repeating the whole word. With 
this system it is almost impossible for an outsider to palm himself off 
as one of the elect, even if he has become acquainted with all the signs 
of the society. 

It is a well-known fact that gypsies have a concerted plan of 
signals which are employed to show members of the party the direc- 
tion taken by their leaders. 

The " Patteran " 

The " patteran," as it is called, is made in various ways. A piece 
of rag fluttering from some bush near a cross-road, is a favorite 



SECRET SIGNS 537 

signal, whilst small twigs or leaves strewn in a particular direction, 
have a somewhat similar meaning. 

Tramps and vagrants of all kinds have a series of signs, which 
they chalk upon the walls of the various houses at which they call, 
serving to inform their brethren of the treatment received at the hands 
of the occupiers. 

By this method a rude cross will usually describe the rather chill- 
ing welcome offered them by an irate householder, whilst a rough 
sketch of a loaf of bread shows that the inmates are sufficiently sympa- 
thetic to dispense with a portion of " the staff of life." On the other 
hand, an upraised leg with a boot upon its foot tells a tale which need 
not be further enlarged upon. 

As to the various modes of recognition that can be produced by 
whistles and cries of all kinds, they are too familiar to require descrip- 
tion in these pages. 



CHAPTER LXV 

GAMES AND AMUSEMENTS FOR THE BLIND 

The Wonderful Sense of Touch 

It cannot fail to strike those of us who are blessed with the use of our 
eyes how extremely fortunate it is that our blind friends need not be 
debarred from many of our games. Being deprived of their sight, 

their sense of touch is developed to such 
2 Jk an incredible extent that in the playing 

of many games their fingers prove of 
the same use to them as our eyes do 
to us. 

Practically all games for the blind can 
be purchased at very moderate cost, yet 
as they can be quite easily made at home 
the following hints are offered in the hope 
that they will prove of use, and help some 
of our readers to entertain a friend less 
fortunate than themselves. 




Cards 



Fig. i. — Pin pricks showing value 
and suit of card. 



An ordinary pack of cards can be very 
simply adapted to the use of the blind. 
By means of a large pin, the designation and value of a card can 



HEARTS DIAMONDS CLUBS SPADES 






• • 



BLACK 



RED 






Fig. 2. — Distinguishing marks for suits and color respectively. 



be pricked on the back, so that the upraised holes are perceptible to 
touch. These values and denominations should be pricked in the 

538 



AMUSEMENTS FOR THE BLIND 539 

corner where the small designation of the value of a card is always to 
be found, as in Fig. 1. 

In Figs. 2 and 3 are shown the marks which should be pricked. 

KING : 
QUEEN <: 
KNAVE u 

OR JACK 

ACE 
2 

3 

4 
5 






••• 






6 






• • 


7 






••• 

•8~ 


5 






.!•*• 


9 






.!•' 


10 






• • • 


Fig. 3.- 


Values to precede the 
signs for suits. 




Fig. 4. — Cards prepared for Patience. 



These are in the Braille alphabet, now universally understood by the 
blind, and read by them with the same ease as we read printing. 



540 HOME FUN 

In Whist or Bridge, each person, as he plays his card, states what 
it is, King of Hearts, and so on, as this saves feeling the cards after 
they have been laid on the table. 

A very suitable game, calculated to amuse the player for hours, is 
Patience, under all its forms. For this the cards must be prepared 
somewhat differently, as in many games the first thing to be dis- 
tinguished is the color. 

The handiest plan is to mark a B or an R for Black or Red, in 
Braille characters immediately before, or underneath the denomina- 
tion. A glance at Fig. 4 will serve to show what is meant. 

With the cards thus marked, any game of Patience can be played 
as easily by a blind person as by an ordinary player. 

Checkers 

An ordinary Checker Board can be adapted for the use of the 
blind with very little trouble and no expense. 

Cut thirty-two squares of thick cardboard, each square identical in 
size with the black squares on the Checker Board. Upon each of the 
black spaces one of these pieces of card should be glued, so that when 
complete the board is composed of sunk and raised instead of colored 
squares. 

For the convenience of any ordinary person who may be playing 
with a blind opponent, the cardboard squares should be colored black 
with India ink. 

The checkers usually purchased have a molding on both top and 
bottom. It will simplify matters considerably if you can buy a set with 
one side only molded. By using the white men with the molding upper- 





Fig. 5. — Molded (white) and plain (black) draughts for the blind. 

most and the black men reversed, as in Fig. 5, the difference will be 
sufficient to enable the blind person to distinguish by touch. 

The same result can be obtained by glueing discs of cardboard or 
stiff paper, upon one side of each man, of one of the sets. 

Halma 

The preparation of a Halma board is very similar to that of a 
checker board. Having raised the alternate squares with cardboard, 



AMUSEMENTS FOR THE BLIND 



54i 



the " Homes " at each corner should be further raised by glueing a 
piece of cardboard over all the spaces, and then raising the alternate 
squares upon this base, as in Figs. 6 and 6a. 



H-. I r-H |_J=fc 



£=y 



Fig. 6. — Section of Halma board showing " Home." 

In the center of each square a nail should be driven from the 
back of the board, with the end cut off and point filed to smoothness. 
These nails should project 
from the face of the board 
about half an inch. The 
ordinary Halma men have a 
hole on the under side, which 
enables you to place them 
upon the upraised points, 
where they will be held 
firmly. 

It will now be necessary 
to make some alteration in 
the men, to distinguish the 
colors. In Fig. 7 an idea 
of how this may be done is 
given. The Yellow men are 
left untouched, Black have 
their heads cut right off, 
Red have one half of the 
head cut away, while the 
Green have the head sharpened to a point. 




Fig. 6a. — Plan of raised corner. 







YELLOW BLACK RED QREEN 

Fig. 7. — Color distinctions for Halma men. 



Dominoes 

Owing to their construction, Dominoes really need no alteration to 
make them suitable for the blind, but care should be taken when 



542 



HOME FUN 



purchasing to see that the pips are cut deep into the ivory, so that the 
player can tell at a touch how many there are in the piece before him. 

Chess 

This is one of the games in which the blind frequently excel, and 
in consequence it is a general favorite. The undivided attention they 
are able to give, and the natural acuteness which their affliction usually 
brings to such a pitch of excellence, serves them in good stead when 
playing " the king of games." 

The board should be prepared as in the case of checkers, with 
the exception that points should be made from the back, in the manner 
described in connection with the Halma board. 

The different men are, of course, by their construction, easily dis- 
tinguishable from one another, but it will assist matters very materially 
if a set is used in which the men differ considerably in shape and size. 

In the center of each piece a hole must be bored in the base, large 
enough to allow the man to be placed, and removed from one pin to 
another with ease. For this reason wooden chess men are preferable. 

The question of distinguishing the colors has been solved in 
various ways. In some cases the tops of the men of one color have 




KING QUEEN CASTLE KNIGHT BISHOP PAWN 

Fig. 8. — Color distinctions for Chess men. 



been halved, as shown in Fig. 8, and this has proved a very satisfac- 
tory arrangement. 

Others have used the black men of one set and the white men of 
another, but this plan is hardly to be recommended, owing to the 
similarity prevailing between all chess men. 

The following method seems to be as good as any, and has the 
advantage of being easily contrived. Drive a pin firmly into t>.e heads 



AMUSEMENTS FOR THE BLIND 



543 



of one set of men (say the black), and either leave plain, or make a 
little knob of sealing-wax around the pinhead. This will render the 
different colors perfectly distinguishable to the blind player. 



Round Games 

In the majority of round games the blind are able to take an 
active part, but this depends very much upon the individual con- 



A 


• 


B 


• 
• 


C 


• • 


D 


• • 
• 


E 


• 
• 


F 


• • 

• 


C 


• • 


H 


• 

• • 


1 


• 
• 


J 


• 

• • 


K 


• 
• 


L 


• 
• 
• 


M 


• • 
• 


N 


• • 
• 

• 



o : 



R 



u 



V 



• 






■• — 

• 9 



T: ; 









w: 



x • • 



y:- 



ZI: 



Fig. 9.— -The Braille Alphabet. 



cerned. As a general rule rough games should be avoided, especially 
if the space for playing be limited. 

Games in which a certain amount of writing is requisite are rarely 
suitable, although here again it must be a matter solely dependent 
upon the person concerned. 

At spelling and guessing games the cleverest seeing player must 
look to his or her laurels, for the blind are very quick-witted in such 



544 HOME FUN 

contests, and frequently have the answer ready while others are still 
repeating the question. 

As a matter of interest as well as of use, the blind alphabet of the 
Braille system is shown in Fig. 9, and by this means letters and notes 
can be written, which will be perfectly intelligible to a blind person. 
In pricking the characters through a paper, it should be remembered 
that the points must be reversed, and the letters begun from right to 
left, as the blind person will read from the other side, where the pin- 
pricked holes will have raised little points of paper. 



INDEX 



Blind, games for, 538 

Alphabet, the Braille, 543 

Cards, 539 

Checkers, 540 

Chess, 542 

Color distinction for Chess men, 542 

Color distinction for Halma men, 541 

Dominoes, 541 

Halma, 540 

Patience cards, preparation of, 540 
Bunkum entertainments, 127 

Ghost, a home-made, 138 

Lectures, Bunkum, 135 

Maids of Lee, three old, 133 

Thought-reading, 130 

Trick shooting, 137 

Ventriloquism, fake, 131 

Cartoons and " fake " sketching, 263 
Drawing-board for, 263 
Easel for, 263 
Figured faces, 267 
Leading characteristics of, 264 
Reversible scenes, 270 
Simultaneous drawing of, 266 
Smoke pictures, 269 
Subjects for, 264 
Charades, 76 

Scenery and "props" for, 76-82- 
Children's party, 477 
Ciphers and Cryptograms, 527 
Appointment, a musical, 530 
Cipher, an early, 528 
Cipher, the fractional, 530 
Cipher, complicated fractional, 530 
Cipher, Government, 531 
Cipher, a musical, 530 
Cipher, "two letter," 532 
Code, the Nihilist, 529 
Letters, "transposed," 528 
Lines, " bounding," 527 
"Sphinx," the, 531 
Writing, secret, 527 
Circus, home, 367 

Ball-balancing, 376 

Barricade and ring entrance for, 367 

Barricade, construction of, 368 

Cards, trick, 376 

Circus horses, how to make, 368 

Conjuring entertainment, a mock, 372 

Decorations for, 369 

Dog, performing, 377 



545 



Circus, home — continued 

Horses for, 368 

Indian sack trick, the, 374 

Juggling, trick, 375 

Plates for spinning, how to make, 376 

Target for trick shooting, 373 

Tilting scene, 370 
Clairvoyance, 426 

Character, keys to, 427 

Crystal-gazing, 429 

Crystal, use of, 430 

Kingdoms, the three, 431 

Magnetism, power of, 428 

Sense, the sixth, 431 

Simple manifestation, 430 

Sphere, the mental, 433 

Visions, to create, 431 
Clog dancing, 244 

Clogs suitable for, 244 

Double shuffle, the, 247 

Single shuffle, the, 246 

Slide, the, 248 

Standing position for, 245 

Variations of double shuffle for, 247 
Conjuring, 158 

Dissolving coin, the, 163 

Magic dye-works, the, 160 

" Patter," 162 

Servante, the, 158 

Table for, 158 

Wand, the magic, 159 

Watch and target trick, 165 

Dissolving views, 396 
Apparatus for, 396 
Apparatus for lighting, 398 
Exhibiting, 399 

Electrical effects, some, 285 
Arc lamp, principle of, 289 
Battery of cells, how to make, 286 
Battery of cells, tray for, 287 
Compass test, the. 288 
Decomposing water by electricity, 293 
Electrical weathercock, an, 290 
Electro-plating, 294 
Electrotyping, 294 
Force, magnetic lines of, 289 
Granulating zinc. 2S7 
Primitive electro-motor, a. 29] 
Spark-producing, 288 
Warming water by electricity, 293 



546 



INDEX 



Experiments, chemical, 312 

Chlorine, with, 313-314 

Electric fire, 315 

Freezing flask of ammonia to wood, 
3i8 

Hydrogen, preparation of, 316 

Musical flame, a, 317 

Niter paper, 314 

Novel fountain, a, 319 

Soap bubble, to explode a, 317 

Sodium or potassium, with, 315 

Water's affection for ammonia, 318 
Experiments, electrical, 2.72 

Discharger, the, 278 

Dynamic electricity, 272 

Electrophorus, the, 277 

Electrostatic motor, an, 282 

Faraday's bell chimes, 284 

Frictional machine, for producing 
electric charges, 283 

Gold leaf electroscope, how to make, 
276 

Leyden jars, how to make, 276 

Positive and negative electricity, 280 

Special apparatus for, 275 

Static electricity, 2^2 

Swinging mannikin, the, 281 
Experiments, more, 329 

Carbonic acid gas, 338 

Coin, a disappearing, 333 

Electrified balloons, 335 

Electrified paper, 334 

Exploding flour, 335 

Flying coin, the, 330 

Gas-making, S37 

Lamp-glass, a cigarette-smoking, 331 

Mirror, a novel, 333 

Refractory cork, the, 329 

Water swinging, 332 
Experiments, odd, 320 

Glass-cutting, 327 

Illusion, an optical, 321 

Pyrometer, the, 325 

Revolving man, the, 322 

Wall, mysterious writing on, 320 
Experiments, scientific, 297 

Bottle cannon, the, 310 

Changing water into wine, 300 

Electric fountain, an, 309 

Eruption of Vesuvius, the, 301 

Floating pins, the, 304 

Glass-emptier, a novel, 307 

Glass raising, 305 

Glass raising, extraordinary, 306 

Match trick, a, 298 

Peculiar candlestick, a, 302 

Swimming paper fish, the, 303 

Syphon, 308 

Tricolor glass, the, 299 

Vacuum, creating a, 305 

Fireworks, indoor, 400 
Designs for, 401 
Firework boxers, the, 403 
Frame and side wings for, 400 



Fireworks, indoor — continued 

Revolving wheel for, 401 

Views, changing, 403 
Fortune-telling, 452 

Arcana, Major, 461 

Arcana, Minor, 462 

Cards, by, 45^-455 

Dice, by, 455 

Dominoes, by, 456-457 

Futurity, figured, 458 

Tarocs, divinations by, 461 

Graphology, 465 

Character by handwriting, 466-471 
Signs of, 466-467 

Handbell-ringing, 105 

Bell-ringing companies, 106 

Flourishing with, 108 
Handkerchief manipulation, 169 

Bow, the double, 170 

Knot, the disappearing, 172 

Knot, a flick, 172 

Knot, the one-hand, 169 

Knot, the wrist, 169 

Knots, the instantaneous, 171 
Hypnotism, 416 

Auto-suggestion, 422 

Gaze, the, 416 

Hands, motion of, 419 

Hypnosis, to induce, 416 

Hypnotizer, 422 

Hypnotist, 422 

Method, the mental, 416 

Method, the physiological, 416 

Self-hypnosis, 422 

Subject awakening, 424 

Test, a sure, 417 

Timing experiments, 424 

" Under-sleep," 416 

Illusions, ghost, 183 

Coffin trick, the, 186 

Frauds, mirror, 183 

Ghost producing, stage for, 184 

Nymph, the sea, 186 

Paris, 185 

Plan of room for, 188 

Reflection, principle of, applied to 
ghost illusions, 183 
Illusions, optical, 519 

Black print red, how to make, 526 

Color top, the, 525 

Dwarf, the man, and the giant, 524 

Hills that don't rise, 522 

Pins, the standing, 522 

Zollner's lines, 521 
Illusions, stage, 189 

Cupboard, the magic, 189 

Disappearing princess, the, 199 

Floating lady, the, 194 

Indian basket trick, the, 197 

Mandarin's head, the 191 

Mesmerism, Houdin's, 195 

Queen Mary illusion, the, 193 






INDEX 



547 



Illusions, stage — continued 

Reflection, principle of, for stage 
illusions, 189 
Impersonations, 41 

Rehearsing, 42 

Stage table for, 44 

Juggling, 225 

Double inside fall, the, 228 
Double over fountain, the, 231 
Double vertical fall, the, 228 
Falls from right to left, 227 
Horizontal pass, 227 
Inside and outside falls, 227 
Parallel fall, the, 226 
Shower, the, 230 
Triple shower, the, 230 
Triple over pass, the, 229 
Triple pass, the, 229 
Vertical fall, 225 

Make-up, 26 

Adhesia, 29 

Crepe hair, 29 

Grease-paints, 26 

High lights, 27 

Juvenile, 29 

Liners, 28 

Lining, 26 

Lining paint, 27 

Lip-rouge, 30 

Low lights, 28 

Mustache-making, 33 

Nose putty, 32 

Old age, 31 

Removal of, 33 

Wig, measuring for, 32 

Wig, mid-gray, 31 

Wig-paste, 26 
Marionettes, 354 

Curtains, arrangement for drawing, 
356 

Curtain, movable, 356 

Figures, home-made, 358 

Interior decoration for, 357 

Puppets, the working of, 357 

Stage, construction of, 355 

Stage for, 354 

Stage, plan of, 354 
Marionettes, living, 363 

Black cloth arrangement for, 364 

Effects, comical, 365 

Stage for, 363 

Stage, sectional view of, 364 
Minstrelsy, 56 

End-men, 56 

Interlocutor, 56 

Make-up, minstrel's, 57 

Negro minstrel troupe, seating ar- 
rangements for, 56 

Nigger black, 57 

Programmes, 60-61 

Songs and gags, 59 

Speeches, stump, 59, 65 



Minstrelsy — continued 
Wig, end-man's, 57 
Wig, interlocutor and sentimentalist's, 

57 
Musical glasses, 101 

Harmonica, 101 
Musical sketches, 86 

Accompaniment, 89 

After-dinner stories, 86-87 

Burlesque, 91 

Dual art, the, 89 

Self-accompaniment, 88 
Mysteries, black stage, 174 

Assistant for, 175 

Barrel, the floating, 179 

Dimensions of, 177 

Head, the floating, 174 

Lighting, 178 

Vanishing man, the, 181 
Mystery, room of, 201 

Electric bells for, 207 

Ghostly sounds, apparatus for pro- 
ducing, 205 

Haunted house, how to make a, 201 

Magnet, use of, for mysterious 
tongue, 209 

Mysterious hatstand, the, 206 

Plan of, 206 

Potato trick, the, 209 

Palmistry, 437 

Characteristics, distinguishing, 437 

Hands, 437 

Hands, proportion of, 437 

Hands, quality of, 437-438 

Hands, shape of, 437-438 

Hands, texture of, 437 

" Mounts " and their signs, 438-439 

Palm, principal lines of, 441-443 

Phalanges, the, 440 
Papergraphy, 220 
Parlor games, 475 

Apples and nuts, 488 

Auction, the, 482 

Brothers, the blind, 484 

Buff, musical, 481 

Cabbages, 478 

Coming, the lover's, 479 

Dog, the amiable, 489 

Fan fight, the, 480 

Gardeners, 476 

Hieroglyphics, magic, 481 

Jack's going strong, 486 

Lawyer, the, 478 

Line, the longest, 481 

Name divinations, 486 

Panama Canal, 480 

Poets' corner, the, 485 

Proverbs, 476 

Ring, the missing, 488 

Shadows, game of, 476 

Telegrams, 479 

Tidings, 477 

Whistle, the, 483 

Wizard photography, 487 



548 



INDEX 



Peep-show, 378 

Candle stand and roof protector for, 
380 

Lighting of, 380 

Scenes for, 380 

Scene-raising apparatus for, 380-381 

Stage front for, 379 
Peep-show, mechanical, 383 

Scene, a double-barreled, 384 

Wings, revolving, 385 
Phonograph, 97 

Programme for, 99 

Programme, a Sunday, 100 

Records, 97 

Songs, humorous, 97 
Photo pastimes, 341 

Blue print paper, 346 

One person in two places, 349 

" Photo-chemical," 344 

Photography, meaning of, 341 

Photography, spirit, 350 

Photos, fireside, 343 

Pictures, imitations of crayon, 352 

Portrait effects, 352 

Printing double, 353 

Printing triple, 353 

" Stops," 342 

White light, constituents of, 347 
Phrenology, 445 

Chart, phrenology, 445 

Craniology, 445 

Side, the humorous, 450 
Plate-spinning, 233 

Balancing, 236 

Plate waltzing, 238 

Prepared plates for, 235 

Spinning wand for, 233 

Table prepared for, 238 
Punch and Judy show, 387 

Figures, working the, 392 

Framework for, 387 

Ghost, how to make, 393 

Packing up, 389 

Puppets, how to make, 390 

Scenery for, 389 

Stage for, 388 

Squeaker, the, 395 
Puzzles, 510 

Anarchists, the dangerous, 511 

Chain, the broken, 513 

Checker, the traveling, 510 

Diamond cross, the, 513 

Donkey, catching, 512 

Like to like, 512 

Miter, the, 514 

Railway problem, 514 

Railways, the quarrelsome, 513 

Rings, joining the, 510 

Rows, the ten, 511 

Solutions to, 515-518 

Quick-change, 34 
Cues, 38 

Curtain-raiser, 36 
Dressers, 37 



Quick-change— continued 

Entrances and exits, 36, 38 
Scenery for, 36 
Sketch for, 39 
Transformations, one-piece, 39 

Recitals, 116 

Attitude for, 116 
Gesture, 119 

Second-sight, mechanical, 211 

Codes for, 211-219 
Secret Signs, 533 

" Cheek," the, 535 

" Eyebrow," the, 534 

Handshake, the, 534 

Hat flourish, the, 535 

Italian secret society, an, 535 

Pass-words, 536 

" Patteran," the, 536 
Shadow drawings, 271 
Shadow shows, puppet, 256 

Plays for, 261 

Puppets, how to make, 257 

Puppets, manipulation of, 259 

Screen for, 256 

Stage for, 256 
Shadows, figure, 253 

Arrangement of screen for, 254 
Shadows, hand, 250 

Light for, 250 

Pictures, how to make, 251 

Screen for, 250 
Singing, in 

Accompanist, value of, 113 

Breathing, in 

Pronunciation, clear, in 

Rehearsing, 114 

Songs, modern, 112 

Voice production, m 
Suggestions in black, 62 

Banjo, 62 

Bones, how to play, 62, 63 

Jokes, 63 

Music for minstrelsy, 66 

Tableaux, 68 

Lighting arrangement for, 71 

" Props " for, 74 

Staging for, 71 
Table-turning, 434 

Medium, the, 435 

Medium, to discover, 436 

Power, magnetic, 435 

" Unbeliever," to discover, 435 
Telegraphy, 410 

Alphabet, Morse, 415 

Framework for, 411 

Galvanometer, a, 410 

Keyboard, the, 413 

Message, transmitting, 414 

Needle, magnetized, 412 

Pointer, the, 412 

Receiver, how to make, 410 

Testing, 413 

Transmitter, how to make, 410 



INDEX 



549 



Telephone, 405 

Bar-magnets for, 406 

Bar-magnets, testing, 406 

Battery with connection, 407 

Magnets, cases for, 406 

Microphone, 408 

Microphone, connection with, 409 

Microphone experiment, 409 

Mouthpieces, how to make, 406 

Receivers, 405-406 
Theatricals, 11 

Back-cloth for, 21 

Fire for stage, 19 

Fireplace for, 19 

" Flats " for, 14-15 

Footlights, the, 13 

Gesture for, 23 

Graining, 21 

Make-up for, 24 

Plays for, 22 

Potzentausend, play of, 22-24 

Prompter for, 23 

Proscenium, the, 21 

Scenery for, 13-14 

Scene-painting, 21 

Stage for, 12-13 

Stage door, the, 15-18 

Stage-manager, 25 

Stage porch, the, 18 

Stage sideboard, 20 

Stage trees for, 14 

Stage windows, 15 

Wigs for, 22 
Tight-rope, the, 240 

" Backward spring," the, 243 

" Backward walk," the, 243 

Balancing pole, the, 241 

Fixing bars for, 240 

"Forward spring," the, 243 



Tight-rope— continued 

" Forward walk," the, 242 

Trick balancing on, 240 
Tricks and puzzles, parlor, 490 

Banana, the obliging, 500 

Bands, the mysterious, 501 

Bite, the magician's, 506 

Bottle, to blow through, 494 

Fish, dying, 498 

Needle-threading extraordinary, 505 

Repeater, the magic, 499 

Scissor trick, 494 

Smoker's fancy, 501 

String puzzle, 503 

Sunshine trick, 507 

Tangrams, 490 

Will-power test, 499 

Universal hat, 50 

Chapeaugraphy, 50 

Vamping, 92 

Vamping chords and relative changes, 
93-9<? 
Ventriloquism, 140 

Breathing for, 143 

Dialogue, ventriloquial, 150 

" Distant," 145, 151 

Figures, ventriloquial, 148 

Figure manipulation, ventriloquial, 149 

" Grunt " voice, 146 

Imitations, ventriloquial, 154 

" Near," 144 

Speaking with still lips, 144 

" Theek " voice, 147 

Whistling, 123 
Solos, 125 



THE END 



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